[Fmpro] What's CPA period?

[Claude Castonguay]

Hi all,

i'm sorry i don't fully get the acronym CPA. I guess the C stands for  
commercial, as in jingle, P..A...Umh There must be some blond  
underneath that premature grey of mine.

As for Jingles, up here in Canada SOCAN pays nothing to composers, i  
believe it never has and never will. The argument is: "broadcasters  
pay for a film or a TV show and what and who is in it, to attract  
advertisers, but they obviously don't pay for the commercials  
themselves so why should they pay for the music in the commercial?

I have a question, does Brad Pitt for example get residuals when one  
of is movies plays on TV (be it cable or network)? Would he get  
residuals for playing in a commercial?

Concerning commercials i have to admit i can see no logical  
explanation that would justify that a broadcaster should pay for  
anything that has to do with an ad...By definition they need good  
content to attract advertisers so i very well see them paying for the  
content but why for anything that has to do with the ad itself it's  
seems illogical..!

Sorry if miss something in this discussion, as i said up here in  
Canada it's a shut case, no PRO money for jingles...

Best,

Claude

On 07-08-13, at 23:10, Mark Northam wrote:

> On 8/13/07 6:53 PM, "Pete" <musical411 at yahoo.com> wrote:
>
>> --- Mark Northam wrote:
>>> When composers aren't ready to fight for the value of
>> their own music (or even specify a value or relative
>> value), why should they expect anyone else to do so?
>>
>>
>> What on earth are you talking about? I fought for and
>> got a nice upfront fee. Any amount of fighting with
>> ASCAP wasn't going to change their usage weight on my
>> commercial in the time that it aired.
>>
>> So I even went as far as to fight for a piece of your
>> money (which apparently you feel you were overpaid,
>> but aren't willing to part with). How much more
>> "fighting for the value of my music" do you want?
>>
>> P e t e
>> S u r d o v a l
>
>
> Sorry, let me clarify.
>
> You say you value your CPA music, but are unwilling to state at  
> what rate
> you believe performance royalties should be paid for your CPA music  
> and the
> music of others who write CPA music.
>
> Have you actually bought the ASCAP myth that your CPA music  
> performances are
> worthless to broadcasters? Do you not see how that can't begin to  
> be true,
> even from the point of the broadcasters, as proven by the fact that  
> they
> would never accept an ASCAP blanket license unless it included all CPA
> performances?
>
> The most basic way to determine the value of a component in a  
> package deal
> of any kind is to no longer make it part of the package and see  
> what the
> buyer does. If he takes the same deal without the component, then that
> proves its lack of worth to the buyer. In the case of the  
> broadcasters,
> there's no possible way they would accept a blanket license without  
> 100%
> coverage of CPA music. So as removing CPA music from an ASCAP blanket
> license clearly would be a dealbreaker and not just a negotiating  
> point  for
> the broadcasters, that would tend to indicate that CPA performances  
> are FAR
> from worthless from the point of the broadcasters.
>
> So which is it? If you think those music performances are of value,  
> then
> what value? How many cents on the dollar for a one minute CPA cue  
> compared
> to a one minute song cue within a program, since that's the ASCAP  
> formula
> mechanism?
>
> If you actually believe that over 50% of the music performances on
> television have little or no value, then say so and believe me,  
> that will be
> the end of this conversation.
>
> But you seem to be waffling around a bit here - one the one hand  
> claiming
> your CPA performances have value, on the other hand being unwilling  
> to state
> what you believe the value of a CPA performance is. I'm just  
> looking for
> some clarification on this - I believe this is a very healthy  
> debate we're
> having, actually.
>
> Best,
>
> Mark Northam
>
>
>
>
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