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Donald's Encyclopedia of Popular MusicA B C D E F G H I J K L M N O P Q R S T U V W X Y ZBMIBroadcast Music Incorporated, US performing rights society, chartered Oct. '39 using money pledged by 256 radio stations in expectation of ASCAP strike against broadcasters (for 15 per cent of their income, raised from 5 per cent). Strike began end of '40; ASCAP is still the biggest of the societies collecting and distributing royalties for members, but during the strike none of the top 20 songs (sheet music sales) was an ASCAP song; settlement was made end of '41 for 2.8 per cent. Meanwhile some publishers switched to BMI, notably Acuff/Rose, Ralph Peer; BMI helped blues and country music artists largely ignored by ASCAP. Broadcasters were effectively encouraged to cultivate minority audiences, publishers serving radio stations indirectly subsidized and a new growth of independent record labels began to serve newly enfranchised markets. The new muscle of minority audiences had far-reaching effects: during WWII blacks, city-slickers and 'hillbillies' in the armed forces were exposed to each other's musics for the first time while the Big Band Era was passing its peak. In retrospect, post-war NYC-based pop music was dominated by trivia and the rise of rhythm and blues, crossover hits, rockabilly etc became inevitable. BMI was soon affiliated with 39 overseas societies, as well as American Composer Alliance ('44): Roy Harris, Walter Piston, Elliott Carter, Charles Ives became BMI composers. BMI also sponsored awards to student composers since '51; BMI Musical Theatre Workshop (since '59) and more recent Alternative Chorus Workshop have best works presented annually to audiences of agents, publishers, producers, record executives. |