NEW YORK — It’s sung every summer in baseball stadiums around the United States. But the impact of “Take Me Out to the Ball Game” goes much further than simply getting fans out of their seats for the 7th-inning stretch.
More than a century after Jack Norworth penned the lyrics, a nonprofit founded with the song’s royalties is celebrating 50 years of supporting young musicians — including the talent behind some of today’s most popular musicals. The ASCAP Foundation, the charitable arm for the American Society of Composers, Authors and Publishers, was established in 1975 after Norworth’s estate left a bequest of the licensing payments for baseball’s unofficial anthem and his other hits.
“Just as all music begins with a song, the ASCAP Foundation began with a song,” said Paul Williams, the group’s president and a composer-lyricist whose award-winning career includes “Rainbow Connection.”
The organization provides money, lessons and mentorship at all career stages in an industry where that support is badly needed by artists who often toil for years working other gigs while trying to get their music before the right ears. To reach its semicentennial, however, the foundation has had to identify new funding streams and reinvent programming.
“Take Me Out to the Ballgame,” written in 1908, has since entered the public domain and no longer generates revenue. The foundation nowadays relies on a mix of philanthropies, corporate sponsors and general public donations. The Louis Armstrong Educational Foundation is a longtime backer and storied New York law firm Paul Weiss is another sponsor.
And, according to Williams, “there’s not a lot of stingy songwriters out there.” The late Jerry Leiber and Mike Stoller, as well as Herb Alpert, are among those with named scholarships and awards. Williams said other bequests, which are charitable gifts left through a will, have come from “Hello, Dolly!” composer-lyricist Jerry Herman and “Tea for Two” lyricist Irving Ceasar.
“It’s really a way of making a mark on the world and extending their values forward,” fundraising coach Claire Axelrad said of bequests, which she added have consistently made up about one-tenth of charitable gifts.
With dwindling arts funding and millions of children reportedly going without music education, the ASCAP Foundation is also trying to reach underserved communities. Leaders count nearly 60,000 K-12 students who participated in last year’s programs. They help teach guitar to New York summer campers and bring students to free Broadway-caliber productions. Youth are learning to play the djembe, a drum originally from West Africa, through a collaboration with urban farming nonprofit Harlem Grown.
Tax filings show the foundation gave away more than $325,000 in grants for scholarships, fellowships and cash awards in 2023. Award-winning songwriter Emily Bear, who co-wrote the soundtrack for Disney’s “Moana 2,” said the foundation took her “very seriously” when she was a five-year-old prodigy receiving its young composer award.
“That kind of validation at that kind of age means so much when you’re just a little girl with very big dreams and you’re in a room full of people that you idolize,” she said.
Composer Stephen Schwartz, who was honored this week with the ASCAP Foundation Champion Award during a June 10 fundraiser at Tony winner Adam Guettel’s Manhattan home, said the nonprofit is filling gaps as the government “supports the arts less and less.”
This April also marked the third year that Schwartz has hosted the foundation’s two-day Musical Theatre Fest in Los Angeles. The location allows participants to get feedback from prominent guests and connect with Hollywood studios — one way the foundation is trying to stay relevant by serving the renewed interest in musicals for television and film screens.
It’s emblematic of the mentorship younger composers say Schwartz — a Broadway icon whose hits include “Godspell,” “Pippin” and “Wicked” — has offered to emerging artists over the years.
Benj Pasek and Justin Paul, the songwriting duo behind “Dear Evan Hansen,” credited the ASCAP Foundation for “cementing” their connection with Schwartz. Pasek said such close proximity to a hero, who then became a “living, breathing person who gives you advice,” made the profession “more plausible.”
“Typically, you’re working on projects on a wing and a prayer and hoping that someday it reaches the stage,” Paul said. “So, an organization like the ASCAP Foundation breathing life into not just your work, but your pocketbooks, is a huge, huge support.”
Schwartz said it was “scary and bewildering” when he first started out without any connections. He sees an important role for himself as someone who can “ease the way a bit” to help newcomers’ “talents flourish earlier and more completely.”
There’s also another motivation.
“It’s slightly selfish because I get to see good work and enjoy it,” Schwartz added.
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