Beruflich Dokumente
Kultur Dokumente
Megan A. Costello
Professor Gaide
"If music did not pay, it would be given up. Whether it pays or not, the purpose of
employing it is profit and that is enough," said Justice Oliver Wendell Holms.
Performance Rights Organizations are set up to pay royalty fees, for publishers and
writers; also, to license those who would like to use: BMI, ASCAP, or even SESAC
member's material, for whatever it might be they need licensing for: performance,
synchronization, or new media. BMI and SESAC may be both performance rights
organizations and have the same concept, however, they both have very different
system and ideas: on how royalties are distributed, licensing, their members/affiliates,
February 13, 1914 at the Hotel Claridge in New York City, ASCAP was formed by
music revolutionaries who were outraged by the issue of people and businesses that
used music, but didn't pay for it. For example, "…Victor Herbert brought a lawsuit
against Shanley's Restaurant for refusing to pay royalties. The fight took over two years
agreement in 1919 with the Performing Rights Organization of Great Britain. Today,
Victor Herbert founder of ASCAP started ASCAP as a clearing house for public
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by its over 300,000 writers and publisher members, ASCAP controls the largest catalog
and market share of public performance rights of all the United States performance
rights societies. ASCAP licenses rights primarily via “blanket license,” whereby a
licensee wishing to publicly perform ASCAP-controlled music pays a single fee equaling
just fewer than two percent of the licensee’s gross receipts for the year, subject to a
minimum fee. In exchange, the licensee obtains the right to perform any composition in
ASCAP’s repertoire for one year. After subtracting its overhead expenses, ASCAP
apportions fifty percent of the collected money to member publishers and fifty percent to
member writers, with individual allocations within each group based on surveys detailing
In the twenties, when radio was invented it became the most significant sources
of income. “Some 11,000 local commercial radio stations and 3,400 non-commercial
however, they were formed by the broadcasters. Because license fees were about to
expire---and they were tired of the expensive fee the broadcasters had to pay---the
Incorporated (BMI). In February 1940, BMI started to function in New York City as full
performing rights agency. Therefore, when ASCAP raised licensing fees to the
BMI. Furthermore, BMI started an “open door policy” for writers and publishers;
therefore, those artists who signed under BMI now had an opportunity to be played
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In ASCAP, you are considered a member. ASCAP members elect who should be
on the board of directors; whereas, in BMI it is owned by the broadcasters. The reason
why the licenses from ASCAP are more expensive then those from BMI are because
ASCAP performance licenses were based on the advertisement sales the radio stations
would get to create a profit. BMI would charge broadcasters what it would cost just
based on how many times they play a song. This brings us to royalty disbursement.
ASCAP sends out a total of eight checks a year to an actively played artist (four
distributions cover performances in the United States and four cover foreign
performances). This is because they already have a set fee and they will pay you on a
quarterly basis. All they need to do is collect the information on how many times the
song is being played, and who owns the rights to the song. “More than $0.88 of each
dollar we collect goes right back to our members in royalties. That is the highest
For domestic royalty checks ASCAP follows this system. A writer will receive, a
quarterly domestic distribution check for the second quarter of 2009 (April, May, June)
performances on January 2010. Then another quarterly domestic distribution for the
third quarter of 2009 (July, August, September) performances will be disbursed in April
2010. The following quarterly domestic distribution for the fourth quarter of 2009
the first quarter of 2010 quarterly domestic distribution (January, February, and March)
BMI will distribute 902 million dollars for the year 2009. The society also
calculates its royalty payments based on surveying methods; however, BMI asserts that
it conducts more sampling than ASCAP, giving members more opportunity to have
for the ASCAP members by licensing more music users and “negotiating the best
license fees. Also, has been a leader in licensing websites and new media. ” BMI
licenses primarily via “blanket license,” for which it charges approximately 1.6% of
the first U.S. performing rights organization to disburse performance royalties on the
internet. ASCAP has developed many revolutionary technological creations that has
said to set international standards for identification methods, for music, such as
works, and be distributed the correct royalty fees. In the digital world ASCAP has
developed strategic alliances with leading technology companies to focus on being the
today’s music marketplace is truly global. BMI is also recognized as the leader in
developing state of the art international royalty accounting and collection systems. BMI
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was the primary creator for digital tools. FastTrack is a system that assures rapid and
accurate accounting for foreign royalties. Because of close inner workings between BMI
and creators’ organizations in Austria, Belgium, Canada, France, Germany, Italy, the
Netherlands, Spain, Switzerland and the U.K. brought FastTrack, the world’s largest
technical alliance. FastTrack represents over 80% of the world’s music. When music is
ASCAP and BMI both help new musicians; Support for the future generations of
musical creators seems to be a very special focus for the performing rights agencies---
they both offer a wide variety of: songwriter workshops, showcase programs,
scholarships, grants and awards to help writers in the early stages of their careers.
These showcases include are considered major industry gatherings which spotlight
developing acts for invited audiences of: record company executives, music publishers
BMI is also experimenting with podcasts; BMI’s See It Hear FirstTM podcast is a
monthly radio-format showcasing the latest BMI songwriters. BMI publicly stated on
their website that the podcast not only gets sent directly to thousands of industry
professionals, but is also heard around the world by people in nearly 100 countries. All
of the See It Hear First podcast series are available for downloading at
ranging from: pop, rock to country, Latin, and much more. Furthermore, several of the
They both create awareness---ASCAP and BMI both offer the industries most
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respected insurance coverage for musical instruments and equipment from MusicPro. In
this economy we are lucky if we have health insurance, and performing rights agencies
are both two of the major factors why musicians have such a great opportunity.
MusicPro is able to offer all sorts of economical rates on: tour insurance, equipment,
Because ASCAP members are “members” and not affiliates ASCAP members
have a voice. ASCAP is the only performing rights organization to hold an annual
membership meeting giving members the opportunity to learn about how ASCAP works,
and what they are working on from the president and staff. Members are able to voice
affairs of the organization by serving on multiple committees, such as: the Symphony
What makes ASCAP very unique compared to---not only BMI, but all
performance rights agencies---is ASCAP is the only U.S. performing rights organization
to offer a Member Card with a full-range of benefits and discounts created to make the
life of the working music professional a little easier, such as: easy access to exclusive
education, financial needs, retail, associations, and a discount subscription program (all
BMI is number one in the industry's most important awards and honors
outrageous range of elite musicians including the industry legends to the best of today’s
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music hit makers. BMI songwriters’ and composers’ success is unequaled in the
industry, as evidenced by their dominance of the industry’s most prestigious awards and
honors presentations over the years. Here is a quick glance at the roster of BMI: John
Lennon, Chuck Berry, Dave Brubeck, Willie Nelson, The Eagles, Thelonious Monk,
Carlos Santana, The Beach Boys, The Neville Brothers, The Who, Aretha Franklin,
Waylon Jennings, Charles Ives, John Kander & Fred Ebb, Leadbelly, John Williams,
The Bee Gees, B.B. King, Antonio Carlos Jobim, and – via its affiliation with the British
performing rights organization PRS – David Bowie, Sir Elton John and Eric Clapton. The
more current artist would be: Kanye West, the Black Eyed Peas, Maroon 5, John
Adams, Juanes, Mariah Carey, Keith Urban, Lil Jon, Mike Post, Juan Luis Guerra, John
Legend, Tim McGraw, Conor Oberst, Keane, Don Omar, Thomas Newman, Snow
Patrol, Snuffy Walden, William Bolcom, Ivy Queen, Snoop Dogg and many more of the
ASCAP roster would include: John Mayer, Quincy Jones, Diane Warren, Bill
Howard Shore, Lenny Kravitz, Kenny Chesney, Missy Elliot, Usher, Marc Shaiman, The
Mars Volta, Black Eyed Peas, Kings of Leon, Jason Mraz and many others.
As for minors who become involved in ASCAP, or BMI---the process is the same
in both performance rights organizations---the minor has to mail in a paper form with a
In order to make a long story short, ASCAP and BMI are different in a few ways:
who they are owned by, who they are operated by, and the disbursement of royalty
checks. They are the same because they do try to promote their unsigned artist through
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numerous events and showcases, they both stress and utilize the new digital world we
all need to be aware about, and they are both eager to be the best at what they do.
However, the bottom line is, "If music did not pay, it would be given up. Whether it pays
or not, the purpose of employing it is profit and that is enough," Justice Oliver Wendell
Holms summed it all up in about two sentences. We need performance rights agencies,
and you need to belong to one if you are a writer, or publisher, so choose carefully it is a
big decision.
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Works Cited
BMI, "BMI 50th Anniversary History Book, The Explosion of American Music:
1940-1990," http://www.bmi.com/reading/archives/historyo1.html.
International Directory of Company Histories, Vol. 23. St. James Press, 1998.
Sanjek, Russell, and David Sanjek, American Popular Music Business in the
http://www.fundinguniverse.com/company-histories/Broadcast-Music-Inc-
Company-History.html
www.ascap.com
www.bmi.com