[Fmpro] Who do you really know?

[Chris Alpiar]

I think your question only allows for muddy answers. Instead lets have a
discussion about how do we select the right people to represent us, and how
do we have a voice so that our needs are attended by our PROs. Seats
allotted to represent composers should come from true composer advocates
that prove themselves as such. Whether they work for any publishers or
represent whoever I don't really care about, as long as they represent us
justly and with gonads to say what is needed, but to do it with enough tact
to actually get results.

How do we make sure that we are all more involved with the voting process
and how do we get a ballot with issues, those are my questions. I still
believe unionizing is the way to do this, anyone know a good AFL-CIO lawyer
we can talk to? I bet if we had the legalities on paper there would be a
tremendous response from composers all over the USA as long as noone has to
suffer needlessly and there is still the opportunity to succeed that there
is today.

Then we have a united voice and issues can begun to be deliberated over

Union doesn't mean salary cap, it just means unity and protection by numbers

-----Original Message-----
From: fmpro-bounces+chris=alpiar.com at nxport.com
[mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of leshurdle
Sent: Sunday, July 29, 2007 6:58 PM
To: fmpro at nxport.com
Subject: Re: [Fmpro] Who do you really know?

I think the Boards and staff of the PRO's know who has and has not  
written product, obviously the CEO of BMG's main interest in  
Publishing, and Orin Hatch ...... hmmmmmmm.

The Power Rangers folk allegedly registered 15,000 titles/cues in one  
year with 2 people as the composers........ some work load ;-)

Even so, this is NOT the issue.

The issue is can a writer who is a Publisher still be a viable member  
of a PRO Board.. especially if the writer refuses to divulge data to  
writers, but does so to members of the Publishing fraternity?

Leopards do not change their spots !

Don't make the water muddy here.

L

On Jul 29, 2007, at 1:27 PM, Chris Alpiar wrote:

> Indeed but you still don't really know *who* wrote it, whether its  
> good or
> bad. Still too much grey area to definitively say that guy is a  
> composer,
> that guy isn't etc. Its still artistic judgement of a not  
> necessarily known
> to be the true composer person
>
> -----Original Message-----
> From: fmpro-bounces+chris=alpiar.com at nxport.com
> [mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of  
> Mike Vaccaro
> Sent: Sunday, July 29, 2007 4:17 PM
> To: fmpro at nxport.com
> Subject: Re: [Fmpro] Who do you really know?
>
> I think the musicians you put your music in front of usually know  
> what makes
>
> a good composer whether it is RMA, Brataslava, New Era, Non Union or
> whatever. Of course unless you hired a crummy orchestrator.
>
> Mike
>
>
>> 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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