[Fmpro] SORRY,,,,,,,, or?

[Chris Alpiar]

Don't get discouraged Lynne, you have just jumped directly down the dragon's
throat into issues that have been ongoing for many years and as composers
have no union have never been able to be properly championed.

As for lawyer and contract, they have nothing to do with PROs, that is an
agreement for points between composer and publisher or production company or
whatever. PRO is just the people that collect royalty money from the world.
They do not ask the contract writer, signees, or lawyers how much do we pay
Joe? They just set the price for songwriters (all of them) 100% and
composers (all of them) 20%, its non negotiable as every PRO in the US does
this.

I think you are doing great here stirring up these dusty old curmudgeons to
get verbal. Hey maybe we might even see some action ;) Keep it up and don't
be discouraged!

-----Original Message-----
From: fmpro-bounces+chris=alpiar.com at nxport.com
[mailto:fmpro-bounces+chris=alpiar.com at nxport.com] On Behalf Of Lynne T.
Conte
Sent: Thursday, May 10, 2007 5:30 PM
To: fmpro at nxport.com
Subject: Re: [Fmpro] SORRY,,,,,,,, or?

The question is how do the pros figure the percentage, correct?  Why didn't
you ask these questions when negotiating the contract?  Why didn't you ask
your lawyer when he/she was reviewing the word content?

Give me time, it's been just a couple of days before I came into this
terrible chat.  For two years 24/7, I received a lot of nice advice from
business associates within the music/film industry; names are not relevant
to prove my skills or to prove anything to this group.

Musically Yours,

Lynne


On 5/10/07, leshurdle <leshurdle at avradionet.com> wrote:
>
> Ha........... I'm going solar !!
>
> Here's the bottom line of my 'angst'...........
>
> I get the same requests from all over the world to......... do
> something.
> Why don't they do it themselves in their own countries?
>
> I look at the problems at ASCAP/BMI/SESAC/PRS/MCPS/GEMA/SACEM/SOCAN
> etc etc   even PPL and the MU in the UK.
>
> None of there orgs operate on fact and complete data       NONE.
>
> Their job is to insure certain folk and heirs of estates are kept ha$$y.
>
> It is very simple, the plan works well and anyone who wants change is
> demonized, dismissed as a crank and in some cases ruined financially.
>
> The last 2 days on this list indicates the low level of education re
> the real process of 'income & distribution' etc being taught to
> musicians and business folk alike.
>
> WHY?
>
> It just isn't enough to prove 3 notes make up a triad.
>
> Can anyone on this list PLEASE explain fully and completely what PRO
> negotiations are based on, [fact that is], what % of distribution is
> based on play per minute per station/outlet FACT and where on any PRO
> or publisher statement the composer is made aware the amount paid is
> actually the correct percentage of the gross the composer is entitled
> to?
>
> Add in the broadcast mechanical from the EU in any reply please ;-)
>
> Les
>
>
>
> On May 10, 2007, at 9:22 AM, Marcahti at aol.com wrote:
>
> > r u plugged into the national grid , mate ?
> >
> >
> >
> > marc
> >
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-- 
Lynne T. Conte/Talent Manager
Conte's Networking Communications
1-707-440-2900
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