ALAN FREED R.I.P. ROCK N PERPETUITY
March 10, 2007
In the past few months we’ve heard about millions of dollars being paid out by the giant music conglomerates, as a settlement for using payola to get their product played. The first time the public became aware of the practice was forty years ago, during the cold war, when endless repetition of popular music on the radio was the ONLY way to sell records!
Critics of Rock and Roll, equated the saturation of the public consciousness with this subversive music to “brainwashing” and many politicians saw this “pay for play” scandal as a way to stop the music in it’s tracks. What better way to accomplish this, than to crucify the man who was responsible for many of the hit artists of the day and the record companies who spawned them…The man who named Rock and Roll, Alan Freed.
The following is from the history of rock…
“Payola” is a contraction of the words “pay” and”Victrola” (LP record player), and entered the English language via the record business. The first court case involving payola was in 1960. On May 9, Alan Freed was indicted for accepting $2,500 which he claimed was a token of gratitude and did not affect airplay. e passed away in Palm Springs
Before Alan Freed’s indictment, payola was not illegal, however, but commercial bribery was. After the trial, the anti-payola statute was passed under which payola became a misdemeanor, penalty by up to $10,000 in fines and one year in prison.
By the mid- fifties the independent record companies had broken the majors stranglehold on airplay and BMI licensed songs dominated the charts. In the wake of the quiz show scandals ASCAP (American Society of Composers, Authors and Publishers) urged House Oversight Subcommittee Chairman Oren Harris to look into the recording industry’s practice of payola.
ASCAP, with its head in the sand, believed BMI licensed songs were hits only because of payola. With the breakdown in morals, ASCAP believed these records were played so often by greedy deejays causing them to become imprinted on unsuspecting teenagers. ASCAP who had always looked at rock and roll as a passing fad. With these hearings they were trying to ensure that would be the case.
“The cancer of payola cannot be pinned on rock and roll.” ….Billboard Magazine. Billboard stated payola was rampant during vaudeville of the 20s, and the big band era of the 1930s and 1940s
The committee decided to look into deejays who took gifts from record companies in return for playing their records on their shows. Fearing the worse the record companies began stepping forward and announcing that they had given money to specific deejays. Soon twenty five deejays and program directors were caught in the scandal. Among the more popular ones were Joe Niagara (WIBG, Philadelphia), Tom Clay (WJBK, Detroit), Murray “The K” Kaufman (WINS, New York) and Stan Richards (WILD, Boston) The probe quickly focused in on the two top deejays in the country Dick Clark and Alan Freed’s broadcast alliances quickly deserted him. In late November, Freed was fired from both ABC-radio and WNEW-TV.
Clark, with more to lose, quickly gave up all his musical interests when ordered to do so by ABC-TV. When asked to sign a statement denying involvement Freed refuse and was promptly fired from his job with WINS.
When Clark appeared to testify he brought Bernard Goldsmith a statistician. Goldsmith told the committee that Clark had a 27% interest in records played in the past 28 months and those records had a 23% popularity rating. The committee was stunned as they wondered what came first the chicken or the egg.
Clark’s testimony began with telling the committee he had given up all outside interests connected with the recording industry. He also said the only reason he had gotten involved with those businesses were for the tax advantages. Clark admitted a $125 investment in Jaime records returned a profit of $11,900 and of the 163 songs he had rights to, 143 were given to him.
When questioned about Jamie records it was discovered that Jamie paid out $15,000 in payola, but Clark denied ever accepting any. The committee clearly didn’t believe Clark, but he received just a slap on the wrist. In fact, committee chairman Oren Harris called Clark “a fine young man.”
Freed who refused to deny involvement wasn’t so lucky. Though he would only receive a small fine and six months suspended sentence his career was in tatters. Freed would die penniless, a bitter broken man, Jan 20, 1965 in Palm Springs, California.. He was forty three.
Alan Freed, Larry Williams, some guy in a hat and Buddy Holly
I first met Alan Freed in 1959, at one his legendary Rock and Roll Shows at the Brooklyn Paramount. I wanted to become a rock star…and Alan wanted to manage me. I spent a lot of time backstage with he and his”family”, which included Jackie Wilson, Jimmy Clanton, The Isley Brothers, Fats Domino, Bobby Darin, the Skyliners, Little Anthony and the Imperials.
While basking in their reflected glory, I thought back to when I started High School, and really had to search the radio for my kind of music. Alan Freed, was always the first one I’d turn to when I wanted to hear Bill Haley and the Comets, The Platters, Frankie Lyman and the Teenagers, Chuck Berry, Fats Domino, or Elvis Presley!
As Rock and Roll became more and more popular, so did Alan Freed. He gave us all a steady diet of what we wanted to hear. I heard the word “Payola” from time to time, but it never meant much to me. Growing up in the Bronx, I accepted the fact that you did whatever you had to do to gain the edge! I thought, ” What’s the big deal about paying to have a record played anyway?”
In the early 60’s, when I was primarily a songwriter and producer, I was concerned with making quality commercial records and would only lease my product to companies who could give me the kind of radio exposure needed to make a hit! I never asked them how they did it …and they never told me! I always believed what you don’t know, won’t get you indicted!
Whatever Alan Freed did or didn’t do, he should be primarily remembered as one of the first Champions of Rock and Roll, a man who for the love of the music, was responsible for dozens of sucessful careers in the spotlight as well as dozens of those behind the scenes of the music business.
Thank you for befriending me and validating me in a way that nobody else could!
Alan Freed, R.I.P. Rock In Perpetuity!
Respectfully, Artie Wayne
THANKS TO EVERYONE WHO IS BUYING MY BOOK…I PROMISE TO USE EVERY PENNY I MAKE ON IT TO STAY ALIVE AND WELL!
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Buddy Holly – A Personal Remembrance!
February 5, 2007
When my Mother asks me what I want for Christmas, I curl my lip like Elvis and say, “A guitar ma’m…a guitar”. As usual, she gives me something that exceeds my expectations. She sees me admiring an acoustic Kay guitar in a pawnshop by the 3rd Avenue El, and buys it for me on a lay-a-way plan.
I can’t afford guitar lessons, so I do the next best thing; I sit in front of the stage at an Alan Freed Rock and Roll show and watch Buddy Holly and the Crickets.
The show is advertised as having the biggest Stars in the Rock and Roll Galaxy. Although I enjoy Bo Diddley (“Bo Diddley”), Eddie Cochran (“Summertime Blues”), Chuck Berry “Maybeline”, The Diamonds (‘Lil Darlin’”),and The Flamingos (“I Only Have Eyes For You”), I’m here to see one group, whose song, “That’ll Be The Day”, is racing up the charts!
I remember Alan Freed comes out at the 10:00 AM show, in his trademark plaid jacket and is about to introduce Buddy Holly and the Crickets. From where I’m sitting I can see someone in the wings waving and trying to get Alan’s attention. Now he sees two-thirds of the group waiting in the wings, but makes his announcement anyway, “Now here’s Buddy Holly and The Cricket!”. Fortunately, Joe B.Mauldin runs onstage with his stand-up bass, halfway through the first song, and added the icing on the cake.
“Well, That’ll Be The Day…when you say goodbye. That’ll be The Day…”
After the show, I stand in the pouring rain hoping to meet my hero at the stage door. Ritchie Valens, and Eddie Cochran, who is also on the show, comes out and graciously signs autographs for anyone who asks. Joe B. Mauldin, and Jerry Allison of the Crickets, sign my autograph book as well.
I wait another half an hour ’cause I can’t wait to tell Buddy how much his music means to me and how I sat in the third row for the last few days making diagrams of where he put his fingers so I can play just like him! When his bandmates return, Joe says that Buddy probably isn’t coming out. Disappointed but inspired, I take the subway back home to the Bronx before it gets dark.
When your plane crashed, they said it was the “Day the music died”…but Buddy, your music has never died for me,”Rave On” and Rock In Perpetuity!
JUST ADDED A MINUTE AND A HALF CLIP OF BUDDY AND ELVIS IN A 1955 HOME MOVIE!http://www.dailymotion.com/video/x8k2b_johnny-cash-elvis-presley-buddy-hol_music
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An Itsy, Bitsy,Teenie, Weenie Mistake In The Media – Paul Vance Is Alive And Well!
September 29, 2006
Sept. 27, 2006, 3:37PM
Songwriter complains of impostor
By FRANK ELTMAN Associated Press Writer
© 2006 The Associated Press
— The man who co-wrote the song “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini” had the unsettling experience this week of reading his own obituary _ the result of an impostor who went through life claiming to be the author of the 1960s smash hit.
On Tuesday, The Associated Press reported on the death of a 68-year-old man named Paul Van Valkenburgh of Ormond Beach, Fla., who claimed to have written the song under the name Paul Vance. The story cited the man’s wife as the source for that claim.
But the music industry’s real Paul Vance, a 76-year-old man from Coral Springs, Fla., is alive and well, and says the other Paul Vance appears to have made the whole thing up!
September 28, 2006
Like most people who know “The Real” Paul Vance, I freaked out when I heard he died a few days ago. Today I was overjoyed when I found out he was still alive!
When I was released from Aldon music as a writer in 1962, the first office I walked into was owned by writer/producer Paul Vance. I had seen his name on records as the co-writer of “Catch a Falling Star”, “Itsy Bitsy Teenie Weenie, Yellow Polka Dot Bikini”, etc. and I hoped he would like my style of pop/country/r+b. He not only co-wrote with me but encouraged me to write with other writers that were coming around at the time, which included Cirino Colacrai (“Runaround”), Joey Powers (“Midnight Mary”), Al Byron (“Roses Are Red, My Love”), Ellie Greenwich (“Be My Baby”, “Da Doo Run Run”), Ben Raleigh (“Tell Laura I Love Her”, “Wonderful, Wonderful”) and Paul’s nephew Danny Jordan (who later became one of the Detergents who sang,”Leader Of The Laundermat”)
One day, singer Frankie Sardo, a friend of Danny’s came by looking for material. He had a minor hit with “Fakeout” but was best known for having been on the last Buddy Holly Tour. After a strong B.S. session, which included Frankie telling us that he gave up the last seat on the small plane to Buddy the night of the fatal crash, the three of us started writing a song, “Find a Little Happiness”. The next day, we finished the song and played it for Paul. He was so excited that he ran us down the hall to play it for Joe Kolsky who owned Diamond records. Joe flipped out as well and suggested that Danny and I record it as a duo with Paul as a producer.
Initially, this didn’t really sit well with Danny or myself since we both were aspiring to be single artists. I knew Joe was a dynamite record promoter since I had an earlier release on Diamond that I wrote with Paul, “Mommy and Daddy were Twistin'” by Susan Summers, but I was still aprehensive. Paul was pissed off that we didn’t jump at the chance to record for the man who was behind some of the biggest acts at Roulette records( Frankie Lyman and the Teenagers, Jimmy Rogers, Joey Dee and the Starliters) so we reconsidered.
In the year and a half that I wrote with Paul we had our songs recorded by the Fleetwoods, The Playmates, etc . He also got songs of mine that he published recorded by the Brian Poole and Tremoloes, Frankie Sardo, and the Angels. Although I wasn’t getting a salary, he did let me have a key to the office where I held many late night “auditions”. I haven’t seen or spoken to him in thirty years, but I want him to know how much I appreciate what he taught me about songwriting, the music buisness and life itself!
JOHNNY CASH R.I.P. ROCK N PERPETUITY!
August 25, 2006
JOHNNY CASH 2/26/32 – 9/12/03
“Although I never met Johnny Cash, I have to count him as an important influence in my music and my life. When I was a kid I asked my mother for a phonograph player one Christmas and begged her for three LPs…the Elvis Christmas album…Clyde McPhatter and the Drifters…and the first Johnny Cash Sun album.
When I learned how to play the guitar from making diagrams of Buddy Holly’s fingers from the third row of an Alan Freed Rock n’ Roll show the first song I learned was,”Peggy Sue”, the second was, “I Walk The Line”.
As an African-American it was difficult to explain Johnny Cash to my inner-city friends, most of whom had heard the name…but not the music. Then I turned them onto his chilling, near monotone delivery of songs that had deeper meaning than most of the pop music of the day.When they listened…they understood…they knew that Johnny Cash was real!!
What amazes me about Johnny and his career,was his ability to stay relevant . I’m 62 years old and after writing songs for over 40 years I’ve wondered if I still had anything left to say…….then I saw Johnny’s video of “Hurt” and realized age can make you more relevant!
From my forthcoming book, “I Did It For A Song”
Copyright 2009 by Artie Wayne
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