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Starting from the beginning of my career, which will be very brief, after I had composed for several years, perhaps from my eleventh up to my fourteenth or fifteenth year, finally some friends, possibly misguided, had thought that a composition that I wrote should go before the public. So I went to a publisher. I was born here in Washington and had the opportunity of drinking in lacteal fluid and patriotism at the same time because my mother's bed chamber looked out at the Capitol. I took this composition to a publisher and I said, “I have a composition with a very beautiful title." He read the title with more interest than he did the composition, which may have been right. The composition was called "Moonlight on the Potomac," and you who have lived here moonlight nights know how beautiful that is. He looked at the composition rather superficially, I thought, and said, "I will publish this for $50."

At that time $50 was real money and I had not it. So I was very much dejected and I took the manuscript under my arm and walked toward home. I met a young man and he said, "Why are you looking so sorrowful?" I said, "I just had my composition rejected by a publisher unless I could pay $50 for its publication." He said, "What is it called?" I said, "Moonlight on the Potomac." He said, "That's a great title. I will give $25 for the publication if you will have it dedicated to my girl. I am very much in love with her and I want to bring her back to the sticking point." I told the publisher that I had $25 and possibly I could get the rest in the future. He said, "Well, anybody who has $25 I am always willing to help." The composition was published. It was my first. man did not marry the girl; she married somebody else, but I do not think it was on account of the composition.

The

I am not going to mention all the compositions that I have written, Mr. Chairman, because there are some 400 of them all together, but the next two I wrote I sold for the magnificient sum of $100. I thought that was progress. Others I sold for $5, etc. Then I sold one for a actionary. It was a good dictionary, being unabridged, and one out of which I got a good many words which I hope I will be able to use this morning.

Then I began to attract a little attention. A publisher in Philadelphia said he would publish my compositions and give me 10 per cent royalty on them. That was quite magnificent. I started with one that a gentlemen told me this morning was one of the most beautiful, the "National Fencibles," then the "Washington Post," the "High Semper Fidelis"-possibly 30 or 40 compositions. He wrote me and said "I am not fond of keeping books; I would rather pay you outright for your compositions. All you have to do is to compose the music, arrange it for band, orchestra, and piano, and I will give you $35." I think some of that $35 is still due me, but he has passed to a better world, I hope, and I will overlook that.

A little while afterwards I received an offer from the John Church Co. They said, "We would like to talk with you about composing for our house." They sent one of their representatives to see me and he made me an offer of $200 advance royalty and 15 per cent on the retail price of everything I would write. As $200 as a starter was six times more than this other publisher was giving me, it was a nice thing. I thought I had better talk it over with my family before rejecting the offer. I did so, and my family having better business

sense than I did, said, "You had better take it." So I wrote to the $35 publisher and said, "I have an offer. I do not want to change if you are willing to meet that offer." He came on to see me and said, "I do not want to loose you from my catalogue and I would be delighted to pay you what you want." He went back home but he did not leave a contract. It looks bad when you do not leave a contract. In a few days he wrote me and said, "If I had not made you that offer I would not make it now." That rather peeved me. I am not temperamental at all, although a composer, and I telegraphed to Cincinnati to send on the contract. The contract came and the first piece that I gave the Cincinnati firm was "The Liberty Bell." Probably that is known to most of the gentlemen here. I think I have heard it something like a million and a half times and other people were present when I did hear it. The first month my royalty from that march was $1,750, which was real money. I felt very proud.

Then I wrote "Manhattan Beach," "El Capitan," "King Cotton," "Pathfinder," "Stars and Stripes Forever," and others.

This firm in the goodness of their hearts and by examining their books paid at times to me over $60,000 a year in royalties.

A little while after that the talking machines began to come into notice and the royalties began to shrink. I was still holding some popularity before the public, because at times there was great difficulty to get into the halls to hear my music. Of course, they have great merit, everybody knows that, still everybody could not get in. So I was not losing any popularity.

From this $60,000, and sometimes over a year, I reached at the present time-my secretary told me when I came down here, as I wanted to be very correct in my statement-that all I got for royalties last year was $29,500. It is a pittance compared to what I got before. I am still able to live and have enough to keep the wolf from the door, but I can only look at the fall. I do not think it is due to a loss in popularity, but I believe that the public to-day and from the day of the talking machine to the present radio is a listening public rather than a buying public. I think they go to the talking machine and get a Sousa march or something else and hear it and are satisfied. Formerly little Nellie came home from school and said, "I heard teacher play a beautiful piece on the piano to-day. It was called 'El Capitan.' I wish you would buy it for me, mother." Her mother said, "If you will practice, I will buy it." Little Nellie agreed and the piece was bought. Then little Maggie across the street heard it and bought a copy, and everybody on that street was wagging away on "El Capitan.

The consequence was if I sold a hundred thousand or two hundred thousand or a million copies of any of these marches I got 72 cents royalty on each of them. I have to sell 71⁄2 times more records for a talking machine to get the same royalty that I received in music. In other words, if I sell 100,000 copies of, we will say, "Stars and Stripes Forever," the talking machines have got to sell 750,000 before I get the same royalty. I do not think that is fair. I think it is rather a bad precedent to establish to give me a penny for a record. Of course, you are not to blame for that. I imagine that most of the Members of Congress who did that are now sleeping quietly under

tombstones. However, I did not write a march for them or a dirge and I am not going to.

After quite a number of years, the John Church Co., through its president, possibly getting overopulent through my compositions, started to dictate. As I say, I am not dictatorial, but being an American I occasionally resent things of that kind, and just at that moment my contract expired with the John Church Co. and I informed the company that I would never write for them again as long as that man was in their office. It might have been a tough proposition on my part to drive a fellow out in the cold, but I did it. I was playing at the Panama-Pacific Exposition in California and received telegram from a publisher in New York offering me 20 per cent royalty and in addition thereto $500 on every piece of music that I wrote. I published a number of pieces with that publisher, and then another publisher, not to be outdone in generosity, came to me and offered me a thousand dollars and 15 per cent for everything I wrote for him. Just at that moment I received a request from the commanding officer of one of the crack Cavalry regiments in the Army-I was then in the Navy myself asking me to compose a march for their troop. I immediately got into a condition of mental gestation, and out of that mental gestation came the "Saber and Spurs," one of the most popular of my modern marches. Everybody was very happy, including the publisher and the commanding officer of that post.

In making my contracts with publishers I do not confine myself to any one publisher. Any one of them will take my compositions, and I select the one I think is best fitted to push the composition. The public should know that it is in existence; it should not be hidden under the counter.

This continued up to the present time, and I would like to say that as a member and vice president of this Society of Composers, Authors, and Publishers there is one thing that I know, from the president down to the last man in that concern, and that is that we want to be fair with the talking-machine people, with the moving-picture people, with the radio people, and with everybody else, but I think when we furnish the brains to make it possible for them to make money we should get some of it. We want to meet on absolutely an equal basis and we want to be honest, and if we do the night shall be filled with music and the cares that infest the days will fold their tents as the Arabs and as silently sail away.

Mr. Buck. Mr. Chairman and gentlemen of the committee, I would like to present Mr. E. C. Mills, chairman of the administrative committee of the American Society of Composers, Authors, and Publishers, and the chairman of the Music Publishers Protective Association.

STATEMENT OF E. C. MILLS, CHAIRMAN OF THE ADMINISTRATIVE COMMITTEE OF THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS, AND PUBLISHERS AND CHAIRMAN OF THE MUSIC PUBLISHERS PROTECTIVE ASSOCIATION

Mr. MILLS. Mr. Chairman, and gentlemen of the committee, I should be introduced as Mr. Mills, of New York and Washington. Like Tennyson's "Brook," these copyright hearings go on and there is no end to them.

The first thing I want to do, by request, this morning is to present to you a statement left with me for that purpose by Mr. M. Llewllyn Raney, the chairman of the copyright committee of the American Library Association and the librarian of the Johns Hopkins University. It is very brief and I will read it. It is dated April 6, 1926, and reads as follows:

The American Library Association is not yet directly concerned with radio legislation, but as its members are large users of the products of authorship it can not remain unmoved when the rights of authors, so hard to win, are imperiled. Copyright means what it says, i. e., the exclusive right to multiply copies. It is the author's constitutional right. If he alone has the privilege for a term to publish, he can charge what he likes, whether by himself or in company with others. If he abuses this privilege by exorbitant prices, then the purchasers should either let his work alone or so starve him to terms, or organize for effective bargaining with him and his associates. There is no more reasonw hy Congress should interfere in this economic adjustment than fix prices in any other direction. Paternalistic and sumptuary legislation is their business.

At the outset I would like to do what we have always done before in hearings, and that is introduce the American Society of Composers, Authors, and Publishers, and in the introduction to offer for the record a list of its members, its officers, and its directors, together with its complete personnel. I might say in introducting it, that the membership has shown constant growth during the entire history of the society, since the year of its organization in 1914, and that in that history it has had but two resignations. That should in a word answer the accusations that we induce our members to continue their membership by subjecting them to some sort of internal pressure, making it unwise for them to resign.

The list of membership referred to is as follows:

Abrahams, Maurice (Inc.).
Belwin (Inc.).

Bond, Carrie Jacobs & Sons.

Breau & Tobias (Inc.).

Chappell-Harms (Inc.)

Clark & Leslie (Inc.).

Denton & Haskins Music Co.

Dixon-Lane Music Publishing Co.
Feist, Leo (Inc.).

J. Fischer & Bro.

Sam Fox Publishing Co.

Gamble Hinged Music Co.
H. W. Gray Co.

Harms (Inc.).

Charles K. Harris.

R. L. Huntzinger (Inc.).

Ross Jungnickel (Inc.).

Edward B. Marks Music Co.

Jack Mills (Inc.).

William A. Pond & Son.

G. Ricordi & Co. (Inc.).
Will Rossiter.

Shapiro, Bernstein & Co. (Inc.).
Skidmore Music Co. (Inc.).
Victoria Publishing Co.

PUBLISHERS

Harry Von Tilzer Music Publishing Co.
Whith-Smith Music Publishing Co.
M. Witmark & Sons.

Ager, Yellen Bornstein (Inc.).
Berlin, Irving (Inc.).

Boston Music Co.

Broadway Music Corporation.
Church, John Co., The.

Curtis, L. B., music publishers.
Ditson, Oliver, Co.

Enoch & Sons.

Fischer, Carl (Inc.).

Harold Flammer (Inc.).

Forster Music Publisher (Inc.).

Estate of Hamilton S. Gordon.
Handy Bros. Music Co. (Inc.)
Harms, T. B., Co.

F. B. Haviland Publishing Co.
Walter Jacobs (Inc.).

Kendis, Brockman Music Co. (Inc.).
McKinley Music Co.

E. T. Paull Music Co.
Jerome H. Remick & Co.
Robbins-Engel (Inc.).
G. Schirmer (Inc.).
Sherman, Clay & Co.
Stark & Cowan (Inc.).
Villa Moret (Inc.).

Weil, Milton, Music Co. (Inc.).
Williams, Clarence, Music Publishing
Co.

Maurice Abrahams.

Milton Ager.
Fred E. Ahlert.

Harry Akst.

Frank H. Anderson.

Lily Strickland Anderson.

Harry Archer.

Gus Arnheim.
Harold Atteridge.
Leopold Auer.

Gene Austin.
William Axt.
Frederick Ayres.
Abel Baer.

Katharine Bainbridge.
Ernest R. Ball.
Maurice Baron.
Ted Barron.

Philip H. Batholomae.
Marshall Bartholomew.
Billy Baskette.

Karolyn Wells Bassett.
Charles A. Bayha.
Mrs. H. H. A. Beach.
George J. Bennett.
David Berg.
Irenee Berge.
Arthur Bergh.
Irving Berlin.
Irving Bibo.

Ben Black.

Eubie Blake.

Walter Blaufuss.

Marty Bloom.

Carrie Jacobs Bond.
Josef Barissoff.
George Botsford.
Frederick V. Bowers.
Robert Hood Bowers.
John W. Bratton.
Lew Breau.

James A. Brennan.
J. Keirn Brennan.
Ernest Breuer.
Ethel Bridges.

George H. Broadhurst.

James Brockman.
Bertrand Brown.
Lew Brown.

Lewis J. Browne.
Alfred Bryan.
Simon Bucharoff.
Gene Buck.
Joseph A. Burke.
Harry T. Burleigh.
Annelu Burns.
R. H. Burnside.

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COMPOSERS AND AUTHORS

Monte Carlo.
Earl Carroll.
Harry Carroll.
Sidney Clare.

Amy Ashmore Clark.
Grant Clarke.
Richard Coburn.
George M. Cohan.
Henry R. Cohen.
Chester Cohn.
Will Collins.
Edw. E. Confrey.
Pierre Connor.
Con. Conrad.
Philip D. Cook.
Will Maion Cook.
Harold Cool.

C. Whitney Coombs.
Bud Cooper.
Joe Cooper.
J. Fred Coots.
San Coslow.
Rubey Cowan.
Henry Creamer.
Bainbridge Crist.
Frank Crumit.
Paul Cunningham.
Pearl G. Curran.
Billy Curtis.
William Daly.

Walter Danrosch.
Charles N. Daniels.
Irwin Dash.
Lee Davis.
Benny Davis.
J. Carlyle Davis.
Lou Davis.
Eli Dawson.
Harry De Costs.

Mme. Fred. De Gressac.

Vaughn De Leath.
Harry Delf.

Jessie L. Deppen-Ball.
Peter De Rose.
Bud G. DeSylva.
Nathaniel Dett.
Cal. De Voll.
Will Dillon.
Harold Dixon.
Mort Dixon.

Walter Donaldson.
Will Donaldson.
Dorothy Donnelly.
David Dryer.

A. Dubin.

Wm. C. Duncan.
James P. Dunn.
Hal Dyson.

Harry Edelheit.

N. Shepard Edmonds.

Clara Edwards.

Gus Edwards.

Leo Edwards.

John C. Egan.
Raymond B. Egan.

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