One man's 78rpm music is another man's 45rpm junk.

Not all's fair in love and war or in the 45 record business. Some executives at major labels, unhappy with their perceived lack of respect or compensation, took it upon themselves to form their own label and hijack as many master discs of the artists that they'd signed up while at the major label. There were lax infringement laws regarding trademark and proprietary rights at the beginning of the decade, so the new 'junk' label owners could get away with openly pressing new 45rpm records of older 78rpm releases with impunity. These same junk label operators misappropriated music from overseas and packaged it as their own and were not challenged for failing to pay fees or royalties, thereby making themselves a lot of money. These early days of the 45 opened the door to many more operators who began making covers of current popular songs as another solid revenue stream. They enticed unwitting teenage buyers to grab these cover records without first playing them, so as to hide the records poor quality and lousy musical imitations. It all does have a better ending because a few legitimate artists got their feet in the door recording as an unnamed artist on some of those poor quality imitations and they are now among some of the most sought after collector 45s today. So in more than one way, one man's junk has become another's sweet music on 45.

Musical integration happens

Between 1950 and 1955 something unique happened long before the civil rights movements recognized intolerance and attempted to correct years of injustice. Savvy businessmen, hard line capitalists and musical geniuses, all without government interference, recognized the equality of music and began the smooth integration of styles, genres, sounds, and differences; even if it was to  benefit their own pocketbooks. It also benefited the American public who was hungry for great new music. Say what you will about capitalism, but sometimes it is the answer. Suddenly names like blues singers, Jackie and Walter began appearing alongside cowboy, Gene Autry while Gospel diva, Edna Gallmon Cooke and Latin orchestra leader, Don Jose were on favorites lists in addition to Bing Crosby, Duke Ellington, Chris Connor and the Du Droppers. The corner had been turned and would never be the same or regress to what it had been. This is not to say that all was good in the record business because we all know it wasn't and still isn't. Much has been written about the socially depraved, drug addled thugs and executives who made life miserable for some artists along the way as the music was transformed through the 45 RPM.