[Fmpro] The Ten Questions for ASCAP (review)

Thu May 17 05:07:29 GMT 2007

" Who are you to tell me what to do?  "

Who are you to come here for 2 weeks, an obvious newbie to the business, and
act all cocky like you know what is going on, telling our members who have
in many cases 45+ years of radio play, contract negotiation, and dealings
with PROs that hey they don't know what the problem is. And when it is being
explained to you, you get rude and catty and you don't *listen* you just
stick with your pre-conceived notions. Its nice to be a hippy chick with a
guitar that wants to represent some people because you think it makes you
hip. Its not nice to flutter into a bees nest of painfully unresolved issues
claiming we are all crazy, that the answers are so simple Dontcha know?? And
then when you get your first taste of how hosed the ascap scene is you back
off 100%. And instead of saying Hey guys, I am new and trying to learn, I
see how bad this situation is and has been since the 50s and getting
involved past empathy is more then I can handle, you go out of your way to
try and throw words, meaningless words, dogmatic garbage spewed by some exec
in a hurry for lunch, at us and say SEE! I told you you are crazy

FYI this is the FM PRO list (PRO doesn't stand for professional) not the FM
Music Job list. And demanding that you get a review of the FMN job service
after acting such a buffoon repeatedly and insinuating there is some dark
reason why it isn't being discussed with you openly is really downright
offensive. Almost as offensive as you saying you are a student of Berklee
when you are just taking some online bs (incidentally those credits online
are NOT aligned with the actual college accredation, I know as I inquired
about mixing some credits online with some credits I have towards my masters
from Berklee and they are not related at all, its just a marketing scheme)

So what im trying to say is if you insist on participating with the big
leaguers then you need to do so from a position of respect, acceptance,
understanding and humility and not one of rude, cocky, ignorance, and all
the other words I can think to describe what you exude. I apologize in
advance to the other list members for my post but this woman is just driving
me nuts with her ignorance polished by a poor attitude

-----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 17, 2007 12:38 AM
To: fmpro at nxport.com
Subject: Re: [Fmpro] The Ten Questions for ASCAP (review)

Who are you to tell me what to do?  No one answered my question about
customer satisfaction regarding the film job postings, that is my concern

On 5/16/07, leshurdle <leshurdle at avradionet.com> wrote:
>
> Lynne I doubt you're a dummy, so let's take the first question Greg
> blew.
>
> >>>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?"  <<
>
> I take it you do understand the broadcasters pay for all music at the
> same 1-1 rate regardless of time of day or genre, correct?
>
> To suggest something like e.g. the weighting formula is the reason
> for the 20% is not the answer.
> Don't know which Board member you are talking to, but please get him/
> her to provide you with the answers, then you post them.... today.
>
> BTW.... Greg is not the only person in ASCAP CS..... why not ask the
> 10 questions of Karen Callaghan today?
>
> Shawn LeMone of the ASCAP office reads this list most days....... why
> do you think he hasn't piped up with info?
>
> Best
>
> les
>
>
> On May 15, 2007, at 9:13 PM, Lynne T. Conte wrote:
>
> > Bad quote:  "Originally the plan was for Lynne to send these to her
> > ASCAP NY
> > contact
> > "Greg", who disappeared after answering the first question
> > incorrectly..."
> >
> > Greg has not disappeared and will be in his office tomorrow, his
> > supervisor
> > will be back on the 17th of May.  As of today, I have spoken with a
> > board
> > member who says these answers below will be found on the ASCAP
> > website, read
> > carefully.  The California office has said the same thing, you all
> > know the
> > answers and will be found on the ASCAP website.
> >
> > The purpose I have joined the chat is because I represent a handful of
> > artists/bands and a few composers, I was just investigating the job
> > listings
> > on Film Network and was brought into the middle of  other peoples'
> > businesses that should be handled differently.
> >
> > However, because I am trying to really run a legitimate business
> > and have
> > enough information, I may terminate my chats to get on with my
> > business; but
> > I will always ask my clients if they are having problems with their
> > performing rights organization; if so, then it will be handled
> > logically.
> >
> > Musically Yours,
> >
> > Lynne T. Conte/Talent Manager
> > Conte's Networking Communications
> >
> >
> > On 5/15/07, Mark Northam <mnortham at gmdgroup.com> wrote:
> >>
> >> Hi All -
> >>
> >> For the benefit of those who just joined us, or have lost track of
> >> the
> >> infamous "10 Questions for ASCAP" in the flurry of posts that have
> >> occurred
> >> since they were posted a week ago, here they are... I believe they
> >> are of
> >> importance to most, if not all composers, and are certainly worthy of
> >> discussion among professionals.
> >>
> >> Originally the plan was for Lynne to send these to her ASCAP NY
> >> contact
> >> "Greg", who disappeared after answering the first question
> >> incorrectly...
> >>
> >> 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?
> >>
> >> 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?"
> >>
> >>
> >> Best,
> >>
> >> Mark Northam
> >>
> >>
> >> _______________________________________________
> >> The Film Music Pro List is sponsored by Film Music Magazine -
> >> http://www.filmmusicmag.com
> >>
> >> To edit your list options or unsubscribe, visit:
> >> http://nxport.com/mailman/listinfo/fmpro
> >>
> >
> >
> >
> > --
> > Lynne T. Conte/Talent Manager
> > Conte's Networking Communications
> > 1-707-440-2900
> > _______________________________________________
> > The Film Music Pro List is sponsored by Film Music Magazine -
> > http://www.filmmusicmag.com
> >
> > To edit your list options or unsubscribe, visit:
> > http://nxport.com/mailman/listinfo/fmpro
> >
>
>
> _______________________________________________
> The Film Music Pro List is sponsored by Film Music Magazine -
> http://www.filmmusicmag.com
>
> To edit your list options or unsubscribe, visit:
> http://nxport.com/mailman/listinfo/fmpro
>

-- 
Lynne T. Conte/Talent Manager
Conte's Networking Communications
1-707-440-2900
_______________________________________________
The Film Music Pro List is sponsored by Film Music Magazine -
http://www.filmmusicmag.com

To edit your list options or unsubscribe, visit:
http://nxport.com/mailman/listinfo/fmpro