[Fmpro] Who do you really know?

[Chris Alpiar]

I see I see... that would work assuming they are not lying on cue sheets and
copyrights and those pieces they are listed as composer on they actually
*were* the composer. I guess we have to maintain some amount of faith at
some point or else we might as well just jump off a cliff, tho it still
isn't completely satisfying

-----Original Message-----
From: fmpro-bounces+chris=alpiar.com at nxport.com
[mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of Mark Northam
Sent: Sunday, July 29, 2007 4:12 PM
To: fmpro at nxport.com
Subject: Re: [Fmpro] Who do you really know?

Fair enough - good points!

But making a rule at ASCAP where a writer could only run for a writer board
member position if the writer did not have substantial publishing interests
in music written by others may be something to consider, and it avoids all
the artistic judgments, etc.

MN


On 7/29/07 12:58 PM, "Chris Alpiar" <chris at alpiar.com> wrote:

> Ah ok I see now (and no sauce for me for a few years now, even tho it
might
> seem I am saucier then ever sometimes hah)
> 
> Well as for changing the rules about who can be called a writer, I totally
> agree, but how do you define who is a writer and who isn't? How do you
prove
> who is a composer and who is a hack? Is there a music test? A polygraph?
> Hehe. I guess you could make the rule that they have to be notably
published
> writers in the community, but they could still be hacks that just swoop on
> cue sheet credits like you say...
> 
> Mark while you and I are in strong parallel on defining what makes a good
> composer, I am pretty sure; who is to say that person isn't an artist and
> that other guy is. Ever been to the Museum of Modern Art in NYC? I SWEAR
> half of that stuff is trash I could have slapped on a canvas in about 20
> mins but well this is the really tough part of art, craft, business and
> entertainment. So many grey areas. Is that art? Is that person a creative
> genious or are they a scam artist? Are they just a bean counter who has
the
> power to drop their name at the right place and people believe they are an
> artist? :( Unfortunately many people live for grey area wherever money is
> involved and so the pure and good folk often get abused in every business,
> the music business just has more grey areas and lots of pure and good
people
> that are building their art based on love for humanity, so we are easy
> targets
> 
> -----Original Message-----
> From: fmpro-bounces+chris=alpiar.com at nxport.com
> [mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of Mark
Northam
> Sent: Sunday, July 29, 2007 3:42 PM
> To: fmpro at nxport.com
> Subject: Re: [Fmpro] Who do you really know?
> 
> I think Les is referring to people whose primary income is derived from
> publishing (or who handles publishing for others) running and being
elected
> as a writer board member.
> 
> This certainly seems like an area ripe for abuse, as at ASCAP, anybody can
> put their name down as a "writer" and join as a "writer" even if they're
> some middleman ripping off composers by demanding a percentage of writers
> royalties as a kickback.
> 
> Maybe it's time for a higher standard to exist at ASCAP for the writer
board
> members other than requiring only that they have a current writer
membership
> at ASCAP... Writer board member independence is critical, especially with
> the publisher-songwriter relationships that are only too obvious on the
> Board currently.
> 
> Best,
> 
> Mark Northam
> 
> 
> 
> On 7/29/07 12:28 PM, "Chris Alpiar" <chris at alpiar.com>  wrote:
> 
>> Maybe I am having a blonde moment *blink blink* but what is the negative
> of
>> having publishers on the ASCAP board? Please educate me Sir Les. I can
>> understand not wanting RIAA people but generally aren't the interests of
> the
>> publishers aligned with that of the composers?
> 
> 
> 
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