Thu Jul 31 12:55:07 EDT 1997

At 00:44 7/31/97 PST, Mike Curtis <ironmanc@JUNO.COM> wrote:
>Obviously, records
>played on the radio accrue royalties. When the juke box is played, the
>composers get royalties.  When the local band plays a tune, thee composer
>gets royalties.
>Not every song is kept track of.  Certain places are sampled, etc., and
>royalties are paid out on this basis.
>The ASCAP license, etc., is essentially prepayment of these royalties.

When you perform live in a club, do you leave a playlist behind?  I don't
think so.  So how does the composer get royalties?  Which "certain places"
are sampled and when?  How are royalties payed out of those samples?  How
many samples are being taken and are they representative of all genres of
music they represent?  Are the samples statistically significant?  Where is
the oversight committee to see that composers are receiving their proper
payments?  I think these are important questions.  If a club doles out
$500-$1000 a year for those licenses, where does the money actually go?

It seems to me this is a system that can be easily abused and very likely
does not properly represent or compensate the composers.

BTW, what is the royalty owed to a composer for a single live performance of
a song?  For a recording, I believe it is 6.9 cents per unit sold.  What is
the royalty owed for a live performance?  If Eric Clapton sings Jimmy
Rogers' "You're the One" in a stadium with 100,000 people paying $30 a piece
and the Moe, Larry, and Curly Blues Band does it at a jam session with a tip
jar and no cover, how much money is Jimmy Rogers supposed to make from each?

Don O.

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