[Fmpro] Fact............

[leshurdle]

Bottom line

Negotiators do a lousy job........ note ASCAP's recent diminished  
income from TV !!

Negotiations apparently do NOT take into account the time of day etc.

NOTE<<<<<<  Willard Hoyt said he pays at 1-1..... no one at ASCAP/BMI  
etc has ever shouted back to deny his statement.

Why is that?

NOTE........ everytime anyone on this list  or elsewhere argues in  
favour of anything other than 1-1.... you prove two things;

1	'Their point'.
2	You've been brainwashed ;-)

L

On Aug 9, 2007, at 8:42 PM, James Ryan wrote:

> No, the broadcasters pay a flat fee for the use of the entire ASCAP
> repertoire.  It used to be based on ad revenue, but it is now based  
> on how
> good your ASCAP negotiator is.  That being said, very popular music  
> and very
> popular shows play strongly into the negotiation.  If ASCAP only  
> had some
> cable shows and a few artists that averaged top 100 hits, but no  
> number 1
> hit records, they would not be able to get much.  On the other  
> hand, if they
> had (and they might, I have no idea) ER, CSI, Law and Order and  
> Medium as
> well as Bruce Springsteen, Eminem, Diddy, Usher, Gwen Stephani,  
> etc. etc.
> they would get a huge amount more.  They would not get more because  
> they had
> the music for game show reruns.  Also, in spite of what we'd like to
> believe, CPA is not part of the negotiation.  If ASCAP has the big  
> Burger
> King Commercial, the station doesn't give a rat's ass.  The  
> negotiation is
> based on the star value of the repertoire.  This comes from several  
> execs
> that I asked at ASCAP.
>
> By the statement below, I meant that ASCAP and PRS are trying to  
> distribute
> this money that is undifferentiated at source in a way that  
> reflects market
> appeal.  Face it, no one is ever going to be happy with the  
> distribution.
> If we ever went 1-1 the songwriters and score writers would go postal
> because the CPA writers would be taking 2/3 of the cash.  I fought  
> this, but
> in my heart of hearts, I find it hard to imagine that a well  
> thought out
> score on CSI (for instance), airing at 10PM within one of the best  
> shows on
> TV has the same value to the public as some quickly slammed  
> together Garage
> Band loop music aired on a game show at 3AM.  Would you pay the  
> same price
> to go see a bar band as you would Elton John or Rage?  Would a  
> promoter put
> a bar band in Madison Square Garden?  Nope, because no one would  
> pay to see
> them.  I think that is ASCAP's and PRS's point.  I'm not saying I love
> taking a royalty hit, but I do kind of understand their thinking.   
> Alright,
> I've got my poncho on - start throwing the tomatoes.
>
> :)
> James
>
>
> On 8/9/07 10:22 PM, "leshurdle" <leshurdle at avradionet.com> wrote:
>
>>
>> On Aug 9, 2007, at 9:28 AM, James Ryan wrote:
>>
>>> I don't want to start a big back and forth about this, but I am very
>>> familiar with media buying/ad costs with regard to stations and
>>> time slots,
>>> and it is vastly cheaper to advertise during daytime TV and in the
>>> middle of
>>> the night than during prime time, and I had a hard time arguing
>>> with his
>>> logic.  I didn't say I liked the result, but I couldn't come up
>>> with much of
>>> a justification for equal pay.
>>
>>
>> Where is there any proof that the broadcasters pay ASCAP or any other
>> PRO based on this logic?
>>
>> Best
>>
>> L
>>
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