Music Composers Unite!
ASCAP COMPOSER BILL OF RIGHTS
Hey all! As some may know, ASCAP recently has created a petition for all its members and non members alike to sign. It is a good list of general rights we deserve as content creators. The bill of rights is however aimed at content creators vs. the world and does not cover many issues that composers face on issues between us and ASCAP.
Personally I suggest supporting the ASCAP bill of rights, it is some really good stuff! At the same time I want to suggest that in this time of creating rights for composers via petition, that we do the same for issues between us and ASCAP.
Mark Northam of the Film Music Magazine FMPRO Email discussion list has offered an excellent start at what the ASCAP COMPOSER BILL OF RIGHTS should contain! We are opening all these points up for discussion and would like input on any of them, suggestions on how to make them stronger, and other points you feel should be included.
When we have drilled down to what our bill of rights should include we will put it to a vote, issue by issue. When we have collectively agreed on these issues I will create a web petition for people to sign digitally and send to ASCAP.
I think its a really important step towards reclaiming some semblance of a reasonable existence in this day and age, I hope you agree and contribute here. Please make note of which points specifically when you reply so we can try and keep it at least a teeny bit organized.
ASCAP COMPOSER BILL OF RIGHTS
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1. The right to be paid for all performances of your music on radio and TV using the latest technology
2. The right to a response from ASCAP member services reps for all questions regarding ASCAP royalties
3. The right to address the Board of Directors in person for a limited time at each Board meeting
4. The right to know how ASCAP is spending our money - full disclosure by ASCAP for multi-million dollar decisions involving member dollars, such as IMJV, MediaGuide, etc and any other matters other than salaries.
5. The right to see the at-source amount that a foreign PRO paid ASCAP before ASCAP takes it's "deductions"
6. The right for independent candidates to take part in the ASCAP election process by petition with a reasonable signature requirement, enacted in time to collect signatures for the next elections in January, 2009.
7. The right to know when and if our board members show up for board meetings (ie, the attendance records)
8. The right to know the voting records of our board members on issues of importance to us
10. The right for background instrumental music to have an equal opportunity for feature performance pay as a background vocal has based on a fair and impartial decision as to the importance of the music to the particular scene
11. The right to negotiate a larger than 50% split for writers (like they currently have in several other countries)
12. The right, like publishers have, to belong to more than one US society so we can split our catalog among the society that pays it the best. This right is also enjoyed by every non-US writer, but is denied to US writers.
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Personally I suggest supporting the ASCAP bill of rights, it is some really good stuff! At the same time I want to suggest that in this time of creating rights for composers via petition, that we do the same for issues between us and ASCAP.
Mark Northam of the Film Music Magazine FMPRO Email discussion list has offered an excellent start at what the ASCAP COMPOSER BILL OF RIGHTS should contain! We are opening all these points up for discussion and would like input on any of them, suggestions on how to make them stronger, and other points you feel should be included.
When we have drilled down to what our bill of rights should include we will put it to a vote, issue by issue. When we have collectively agreed on these issues I will create a web petition for people to sign digitally and send to ASCAP.
I think its a really important step towards reclaiming some semblance of a reasonable existence in this day and age, I hope you agree and contribute here. Please make note of which points specifically when you reply so we can try and keep it at least a teeny bit organized.
ASCAP COMPOSER BILL OF RIGHTS
=====================================
1. The right to be paid for all performances of your music on radio and TV using the latest technology
2. The right to a response from ASCAP member services reps for all questions regarding ASCAP royalties
3. The right to address the Board of Directors in person for a limited time at each Board meeting
4. The right to know how ASCAP is spending our money - full disclosure by ASCAP for multi-million dollar decisions involving member dollars, such as IMJV, MediaGuide, etc and any other matters other than salaries.
5. The right to see the at-source amount that a foreign PRO paid ASCAP before ASCAP takes it's "deductions"
6. The right for independent candidates to take part in the ASCAP election process by petition with a reasonable signature requirement, enacted in time to collect signatures for the next elections in January, 2009.
7. The right to know when and if our board members show up for board meetings (ie, the attendance records)
8. The right to know the voting records of our board members on issues of importance to us
10. The right for background instrumental music to have an equal opportunity for feature performance pay as a background vocal has based on a fair and impartial decision as to the importance of the music to the particular scene
11. The right to negotiate a larger than 50% split for writers (like they currently have in several other countries)
12. The right, like publishers have, to belong to more than one US society so we can split our catalog among the society that pays it the best. This right is also enjoyed by every non-US writer, but is denied to US writers.
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Replies to This Discussion
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Permalink Reply by Ed Baker on
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I totally agree! Look forward to hearing more about this Brian. A new idea, fresh approach would be welcomed. Many thanks Brian.
Take care,
Ed
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Permalink Reply by Terry Michael Huud on -
<<1. The right to be paid for all performances of your music on radio and TV using the latest technology>>
Interesting. Didnt see this before. I was at a dinner function with Industry pros (other composers-pro sound mixers, etc and one of the head reps from BMI was at the dinner.) she was pretty cool but didnt want to come off as a sponsor for BMI. I told her I was with ASCAP and she told me that one main advantage with BMI is that they track royaties/performances differently and that they are more accurate. She challanged me to bring in a cue sheet and she would tell me in a moment what BMI would pay out for that same sheet. She said she can almost guarantee it would be more. The only reason i DIDNT take her up on the offer is because it took my manager and I (well - actually my manager decerves all the credit for this) MONTHS to get ASCAP on the ball to pay out my royalties. And its only been the last 3-4 years that they do seem to be on the ball so my fear was in quitting ASCAP amd joining BMI I would have this major 'get to know me/them' period again trying to make a smooth transition. I just wassnt up for that...
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I'm a little surprised she can almost guarantee BMI's pay out would be more than ASCAP. I've heard from people who have co-writers in BMI that when they compare ASCAP/BMI checks they are almost always the same amount. I would be very curious to see if she quotes you a higher pay out. The fact that it took ASCAP months to get on the ball to pay you your royalties is a crime! Not to mention the fact that you weren't getting paid to start with. And those in power have the nerve to get upset when composers and songwriters ask about watermarking and fingerprinting all music to make sure everyone gets paid what is due them.
Take care,
Ed
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Permalink Reply by Terry Michael Huud on
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she said,"most everyone that comes to me for the comparison test finds we pay more."
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