[Fmpro] The role of managers re: royalties?

[Lynne T. Conte]

Mark,

These are questions that you brought up to my attention.  I can not answer
them for you, if you want answers, then I have to go to the source, in which
I will and get back to you with answers.  As I have told Greg at ASCAP all
conflicts can be resolved if all parties want the conflict resolved.

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:
>
> Hi Lynne -
>
> Of course you may use my name, as long as you promise to tell me what they
> say (that is printable) after you mention my name :-)
>
> A hint: focus on the issues, not on me or any other personality involved.
> What ASCAP may or may not think of me is irrelevant compared to the issues
> at hand - namely the payment rules, election rules, etc. Keep your eye on
> the ball: the issues. If they say the basis for a question is wrong or
> false, ask them to explain exactly how it is wrong, and to correct it.
> Remember, we're dealing with the distribution of hundreds of millions of
> dollars here... Just like a bank or financial brokerage company, clients
> have the right to financial and operational details of how their money is
> being collected and spent.
>
> To clarify, I posted the questions not to send you in to ASCAP as a
> messenger, but to inspire you to want to know the same information that
> others have been wondering about for some time.  Feel free to add,
> subtract,
> edit, etc. and make them **your** questions, if you indeed are interested
> in
> learning more about some of the more interesting aspects of performance
> royalties for film and television music. But no, I have no problem with
> you
> using my name. Have fun.
>
> Best,
>
> Mark
>
> On 5/8/07 1:03 PM, "Lynne T. Conte" <profwoman4u2 at gmail.com> wrote:
>
> > Mark,
> >
> > While I am waiting for a response from my referral, can I have your
> > permission to give your name at ASCAP regarding the questions that you
> have
> > sent?  I will re-call ASCAP with your questions, but they are your
> questions
> > and I need to use your name with your permission.
> >
> > 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:
> >>
> >> 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