[Fmpro] The role of managers re: royalties?

Tue May 8 20:11:55 GMT 2007

Mark,

Do I have permission to use your name at ASCAP with your questions?

Musically Yours,

Lynne T. Conte/Talent Manager
Conte's Networking Communications
707-440-2900

On 5/8/07, Mark Northam <mnortham at gmdgroup.com> wrote:
>
> Thanks, Lynne! I look forward to your decision.
>
> While some may see these questions as "antagonistic," they are perfectly
> valid questions that a composer or their manager would have every reason
> to
> ask about their royalties. They are no more antagonistic than asking your
> bank about all the terms of a mortgage or auto loan.
>
> That being said, the last time I taught my "Breaking Into the Business"
> class in Boston, most of the students in the class (we had a total of 55
> students) were from Berklee, and 90% of the Berklee students didn't know
> (and hadn't been informed by their instructors at Berklee) that a minute
> of
> score is paid only 20% of what a minute of song is paid by ASCAP.  I was
> shocked, but not surprised.
>
> My suggestion to the good folks at Berklee: don't shy away from the
> financial realities of the film scoring business. Your students deserve to
> know the truth, the whole truth, and nothing but the truth if they are to
> successfully pursue careers in this industry... And if the Berklee folks
> need some education about the realities of the PROs and instrumental music
> these days, just ask here on the FMPRO list and there are many
> well-informed
> people who would be willing to share some hard-earned knowledge.
>
> Best,
>
> Mark Northam
>
>
> On 5/8/07 12:49 PM, "Lynne T. Conte" <profwoman4u2 at gmail.com> wrote:
>
> > Hi Mark,
> >
> > I am discussing this with my instructor at Berklee College of Music and
> he
> > has referred me to someone.  I am now sending him a copy of your last
> e-mail
> > to here his opinion of matter at hand.  I will get back to you shortly
> on
> > all your questions.
> >
> > Musically yours,
> >
> > Lynne T. Conte/Talent Manager
> > Conte's Networking Communications
> >
> > On 5/8/07, Mark Northam <mnortham at gmdgroup.com> wrote:
> >>
> >> Hi Lynne -
> >>
> >> I like your initiative - contact ASCAP directly and see what you can
> >> learn!
> >>
> >> So here's your challenge: see how many of the following politely worded
> >> questions "Greg" will provide direct answers to before he "has to go"
> or
> >> suddenly discontinues the call somehow:
> >>
> >> 1. "Can you tell me why a minute of score music on TV is only paid 20%
> of
> >> what a minute of song on the same program is paid by ASCAP?"
> >>
> >> 2. "Can you tell my why a minute of original music for advertising is
> paid
> >> by ASCAP only 3% of what a minute of song is paid on the same TV
> program?"
> >>
> >> 3. "Can you tell me why ASCAP hasn't implemented MediaGuide on
> television
> >> and added watermarking so music under dialogue and sound effects can be
> >> tracked and paid, not just songs performed in the clear?"
> >>
> >> 4. "When an overseas PRO sends you money for one of my clients, why
> >> doesn't
> >> ASCAP disclose the actual amount of money received, before any ASCAP
> >> deductions, for the member on the members' statement? "
> >>
> >> 5. "How do ASCAP members benefit when ASCAP refuses to release election
> >> vote
> >> counts, has effectively eliminated independent candidates, and in the
> case
> >> of board vacancies, secretly chooses whomever they want to fill the
> spot
> >> rather than respecting the vote counts of the remaining candidates?
> >>
> >>
> >> And if "Greg" makes it through those questions without choking on his
> >> lunch,
> >> here are a few more...
> >>
> >>
> >>
> >> 6. "How do ASCAP members benefit when ASCAP prevents me from speaking
> >> directly with a foreign PRO if I have a question about how much that
> >> foreign
> >> PRO paid my client?"
> >>
> >> 7. "Please tell me about ASCAP's advance program and how my client can
> >> qualify for and advance.... No, Greg, not the "referral out to a bank
> >> loan"
> >> program on the website, I'm talking about the "other" type of direct
> >> advances that ASCAP has provided to members without going through a
> bank,
> >> etc... You know, the kind negotiated by LA's top film and TV music
> agents
> >> for their "star clients".
> >>
> >> 8. "Speaking of MediaGuide, Greg, how does ASCAP justify sinking tens
> of
> >> millions of member dollars into a system that only benefits music on
> the
> >> radio, which is primarily song?"
> >>
> >> 9. "Oh, and one more on MediaGuide... MediaGuide now tracks tons of
> >> advertisements on radio and TV. When will ASCAP start paying all the
> >> writers
> >> and publishers performance royalties for music in those ads, not just
> >> tracking the ads for outside companies who want to see when and where
> they
> >> are broadcast?"
> >>
> >> 10. "Thanks very much for those answers, Greg. Do you mind if I share
> them
> >> with some friends on the Film Music Pro email discussion list?"
> >>
> >>
> >> On 5/8/07 11:33 AM, "Lynne T. Conte" <profwoman4u2 at gmail.com> wrote:
> >>
> >>> I spoke with a Greg over at ASCAP.
> >>
> >>
> >>
> >> _______________________________________________
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> >
> >
>
>
>
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-- 
Lynne T. Conte/Talent Manager
Conte's Networking Communications
1-707-440-2900