[Fmpro] CPA (was Did you???????)

[David Tkaczuk]

James :

Your information is Gold to me.

SOCAN seems to be useles when it comes to PRO
income on jingles/sound design. But, I am "affiliated" with
ASCAP, so, who knows, if I write a spot for the U.S. market.
I could start to collect ? No ?

This could be valuable. Thanks again.

Dave T.
D&D music

James Ryan wrote:

> Hi Les,
> Over the years you have coached us all to stand up and be counted.  I
> am not in the library world, and I won't pretend to know the ins and
> outs of how it works, but if I was, I would do everything in my power
> to make sure that my music was being watched over, PRO-wise.  I used
> to just let it go, but now, a significant part of my income is from
> ASCAP.  That is not an accident.  It is because I follow the check
> list I posted.  I'm not berating you or preaching, but I would
> strongly suggest you put all that energy towards some way to get your
> jingle/PRO/library situation under control.
>
> I brought this up on this list once before and if my memory serves me
> well, it was in response to an "authoritative" claim on the list
> saying that there was no significant PRO income in jingles, and I  got
> hammered for being "anecdotal."  I didn't bother to argue; I was too
> busy filling out deposit slips.  I will say it again for perspective.
> I SWEAR to you that on a national spot I did for Palmolive a few years
> ago, the ASCAP income over a year was in the area of $50K.  Yes, yes,
> this is exceptional and I never hit that jackpot again, but I have
> made ASCAP money on my national spots, all of them, and even if it's
> only a few bucks, it adds up.  My point - it is worth the effort to
> get this situation under control, whatever it takes.  It is NOT futile.
>
> Les, you are a sage old bugger. (sorry) I am not telling you anything
> you don't know, and if the money is as important to you as I think it
> is, you'll figure out how to sit down with your Library folks and
> hammer out some kind of deal that will ultimately be very profitable
> for them aggregated out to all there writers and gets you what you
> deserve.  If CPA is such a huge part of what's on the air, even at the
> pathetic rate it's paid, there is money to be made, the writers
> deserve it, and it is available if you are willing to go the extra
> mile, fill out the prehistoric forms, play the game and go for it.  I
> am definitely not condoning the requirements for getting paid.  As you
> know, I personally confronted John Lofrumento about this and got a
> polite "we're working on it" which appears to have gone nowhere so
> far.  I get exhausted, I get frustrated, I get angry, but bottom line,
> I get paid, and so should you and anyone on this list who writes CPA.
>
> Very best,
>
> James
>
> On Apr 4, 2008, at 10:12 AM, LesHurdle wrote:
>
> > I copied this entire email simply because there is a Q at the foot.
> >
> > Hi James,
> >
> > No, I did none of what you suggest !!!!!!!!!!!
> >
> > As I have said many times....... after years as a studio guys and a
> > few years in the UK writing for film/tv, I got fed up with dealing
> > with idiots and suits so I elected to write for Libraries.
> >
> > I NEVER know when a piece is 'sold' until many months later [via my
> > Statement from the Publ.] and often the Ad has aired before I know of
> > it.
> > In this case I requested the Library to followup.
> > They say they did, to no avail at ASCAP.
> > Did they, how do I know?
> > But surely this is what they get 50% for !!
> >
> > Th real bottom line;
> >
> > Libraries have been convinced by ASCAP that CPA is of such little
> > value and seldom turns up in a survey [especially Local TV] there is
> > no point in spending the Pubs money to go after collection.
> >
> > Frankly, as with all of my gripes about 'variations' etc, I find the
> > fact any PRO simply 'takes' money from a client for music on air,
> > then keeps it...... disgusting, and the really sad part is, those we
> > elect allow it, and support it.
> >
> > Les
>
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