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Subject: Re: "Tristan" Recordings: Petrillo
From: Mark Bednar <[log in to unmask]>
Reply-To:Mark Bednar <[log in to unmask]>
Date:Sat, 6 Jan 2018 17:04:03 +0000
Content-Type:text/plain
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George Shearing told this story on Marian McPartland's Piano Jazz program:
When he was applying for US citizenship he had to answer a number of questionspresented by the judge. One was: "Who is the president of the United States?"His answer: James Petrillo.

      From: Paul Ricchi <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Friday, January 5, 2018 8:39 PM
 Subject: Re: "Tristan" Recordings
   
Donald Kane wrote: “Who remembers the recording ban in the 1940's?  A
musicians union czar namd
Petrillo prevented any recordings from being made by members, which
included nearly
anybody who played or sang for a living.”

That started in 1942, and the “Czar” was James Petrillo. It lasted for
about 25 months - Petrillo won that battle. During that time his name
became a household word, and was a punch line in many jokes on radio shows.
His last victory was over the segregation in some union cities, it
prevented black and white union musicians from working together.

Paul Ricchi


On Fri, Jan 5, 2018 at 8:09 PM donald kane <[log in to unmask]> wrote:

> Who remembers the recording ban in the 1940's?  A musicians union czar namd
> Petrillo
> prevented any recordings from being made by members, which included nearly
> anybody who
> played or sang for a living.  The Boston Symphony Orchestra, as I recall
> was non-union, and
> therefore exempt.  For many months, on the radio, all you could hear were
> old records of
> Stephen Foster songs by big stars like Bing Crosby who wasn't allowed to
> make anything new.
>
> If you are under contract to be paid a given sum by your employer  for a
> given amount of work,
> why should that employer be constrained from using the product of that work
> as he chooses,
> whether for profit or not?  Should I have expected to collect royalties all
> my life from proceeds
> that may or may not have stemmed from work I was hired to do?
>
> dtmk
>
> On Fri, Jan 5, 2018 at 12:53 PM, Kiwi <[log in to unmask]> wrote:
>
> > Please correct me if I am wrong but I thought off air recordings were
> fine
> > as long as they remain for personal use.  (I know this is a little bit
> > apples and oranges but...)  The line is crossed, however, when the
> off-air
> > recordings are sold because then it becomes more a contested issue of who
> > owns the product:  the phantom airwaves or the house.  Obviously, in this
> > case there is no question as to who is making money in the transaction
> and
> > it isn't the artist.
> >
> > Obviously, in the modern age this has somewhat more resonance than in the
> > good old days but do any of the modern singers object to being broadcast
> > live?  I assume (?) stuff is now written into the contract that allows
> the
> > house to do such things and everyone knows there are no royalties and
> such
> > involved.
> >
> > Does anyone know how singers are treated when their operas are released
> > for sale from, for example, the Met?  I imagine the stars have a
> different
> > deal than the chorus or the musicians, but does anyone have the insider's
> > knowledge of how this works in a legit effort?
> >
> > I have talked with some singers who despair of recordings because so few
> > people actually spend $$ on physical recordings (or even downloading
> them)
> > and because it is so easy anymore to simply take the work product from
> > someone and share it across the internet.  YouTube is full of examples.
> On
> > the one hand, it certainly enriches us and provides an outlet for
> > developing singers.  On the other hand ....
> >
> > I have no pony in this race.  I have off-air recordings that I treasure
> > and I have had friends send me copies of performances which are more
> > private (as in transferred from actual DVDs).  I do not sell or share but
> > that's a personal decision and each one of us needs to find the position
> on
> > this that is right for us.
> >
> >
> >
> >
> > -----Original Message----- From: Bob Rideout
> > Sent: Friday, January 05, 2018 12:34 PM
> > To: [log in to unmask]
> > Subject: Re: "Tristan" Recordings
> >
> > It has nothing to do with stature. It is the law and it applies equally
> > to all who wish to invoke it. There have been a number of others, Jessye
> > Norman comes to mind immediately, who had no particular gripe
> > with the Met but blocked her performances as a matter of principle,
> > or so she said, and I have no reason to disbelieve her.
> >
> > Ed Rosen was fond of saying that it was ok with such famous singers
> > as Renata Tebaldi, and, and...... so there was no problem with releasing
> > them. The major problem with that premise is that Tebaldi, and, and...
> > didn't own the rights. The Met and other theaters did, AND Tebaldi et
> > al were not the only singers on any of those performances.
> >
> > Do I own any? Absolutely! My musical life would be much the poorer
> > without them, but the law is what it is.
> >
> > Bob
> >
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