[Fmpro] CPA music?

[James Ryan]

Mark-
What are the exact facts you're looking for?  The number of earning  
composers versus the number of earning songwriters?  I'm sure Doug  
Wood could answer that one.  Do you honestly think the numbers are  
even close?  With all the jingle houses, staff writers, library  
writers, etc.  I would have to believe that the number of score  
composers is vastly larger than the number of actual, royalty earning  
songwriters.  Songwriters have a much narrower venue in which to  
display their work, so the number of successful songwriters, i.e.  
one's actually getting their work on the air with hit records, etc.  
would surely seem minute compared to news music composers, CPA  
composers, film score composers, sitcom composers, drama/romance  
composers, etc.  Sure, there are millions of bands and singer  
songwriters out there, but how many of them are actually getting  
enough broadcast exposure with all the tight radio playlists to earn  
PRO royalties?

Think of the Billboard Top 100 or 200.  Unless you are in the top ten,  
and in the top ten fairly often, your royalties rapidly and  
substantially decrease as you move up to the higher numbers.  This  
much I do I know.  I was both a hit artist when I was younger, and a  
staff writer for a major song publishing company.  I've made a lot  
more money as an instrumental composer than I ever did as a  
songwriter, even with hits!

Anyway, it is with the above logic that what I was told seemed  
reasonable.  I don't think my source at ASCAP is very talkative, so If  
anyone would like to pose the question to Mr. Wood who would probably  
be a very reliable authority on the matter.....

Best,
James

On Nov 27, 2007, at 10:28 PM, Mark Northam wrote:

>
> On 11/27/07 7:10 PM, "James Ryan" <jeryan at optonline.net> wrote:
>
>> I had the wonderful and embarrassing experience to stand before
>> John LoFrumento and hear him describe the small handful of letters he
>> received from a list that I believe is over a thousand strong.  I had
>> no support, he knew it, and the results are what we have today - no
>> watermarking, no electronic tracking of any kind for score.
>
> Good points, James.
>
> I know a lot of people who are unhappy with ASCAP's policies towards
> composers. But I can count on one hand the number of those people  
> who are
> willing to put their name on ANYTHING public that is the least bit  
> critical
> of ASCAP, or as you saw, even asking ASCAP for watermarking. For  
> some, it's
> apathy, but for many I believe, it's fear.
>
> ASCAP is too strong, too powerful, and without checks and balances.
> Composers who depend on ASCAP royalties for a significant part of  
> their
> income have good reason to fear ASCAP, an organization with no  
> qualms about
> retaliating against members who fall out of favor with management  
> and staff.
> With most appeals routes now gone thanks to the ASCAP Board, it  
> really puts
> composers in a tough spot, and I completely understand the  
> reluctance of
> many to speak out against practices that are blatantly and obviously  
> unfair.
> A composer organization could do so, but the PROs are quick to  
> "sponsor"
> those to make sure they have no bad things to say about their  
> sponsors.
>
> But I'll go back to the same issue - your ASCAP source. If he's  
> unwilling to
> provide numbers to bolster his claim, then I say he's full of it.  
> There is
> simply too much bile spewing from the PROs about how things are  
> wonderful
> and transparent, when the facts show that exactly the opposite is  
> true.
>
> Best,
>
> Mark N.
>
>
>
>
>
>
> ---------------------------------
> Mark Northam, CEO
> Global Media Development Group
>
> http://www.FIlmMusicMag.com - The Professional Voice of Music For  
> Film & TV
>
> 1-800-774-3700 ext. 702 / 310-645-9000 ext. 702
> http://www.gmdgroup.com
> Yahoo/Skype: marknortham  /  AIM: mnortham
>
>
>
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