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Home , Leon Ware

March 2006 NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i o n

DAVID SPEAKS: THE TROUBLE WITH GOLIATH Or, Why It's Cool To Be An Independent Publisher In A World Ruled By Giants

Kevin Koloff

Tonight's panel is entitled other hand, spent ten years at EMI. The President’s Corner "Return of the Foreign Independent And Olivieri was a DJ, and Sub-Publishers." Being a bit of a producer who hated the paperwork Dan Butler literalist (blame it on law school), I and the administration part, but even- read the title and asked myself, tually realized that somebody had to Our February meeting, “From Doo-Wop "Return from where? Where did do it -- so now that's what he does. To Hip-Hop” in honor of Black History they go?" Before I called our Despite their different pasts, Month, was a terrific evening. CCC Board moderator, Teri Nelson Carpenter, they're all, perhaps predictably, great members Cheryl Dickerson and James and got set straight -- the title is believers in the advantages of the in- Leach moderated a superstar panel simply a reference to the fact that dependent publisher. And all of them consisting of Rock and Roll Hall of Fame the CCC had a panel on indepen- are articulate, at times passionate, member George Clinton (“Parliament dents last year, and now they're defenders of the faith. Our topics of Funkadelic), Leon Ware (songwriter/re- back to update us -- I actually put discussion tended to fall into a few cording artist and writer/producer of the question to a few of the pane- categories: ’s “I Want You” album), Har- lists. They didn't know exactly 1. The Majors Can't Handle the Pa- vey Scales (“ Lady”), recording ar- where they were coming back from perwork: This isn't a derogatory state- tist/songwriter Trevor Lawrence, Jr. and either, but I got some good specu- ment about the abilities of the people Verne Allison, Jr. of the Dells. These music lation about it, and in one or two who staff the big publishers; it's an greats from past and present discussed instances my stupid misunderstan- observation about the ratio of number how classic music from the doo-wop and ding led to some good discussion. of songs in the catalog to number of eras continues to be integrated I spoke with Gino Olivieri of people working on them. Everyone I into today’s hip-hop sounds. George Clinton had the best line of the night, Premier Muzik International spoke to pointed out that recent cut- saying that if you want to predict the next (Canada), Olivier Meulenyzer of backs in personnel among the majors big trend in music to be embraced by Studio Paradiso (France), Chris have left them drowning in titles. Says young people, you need to listen for the Gough of Native Tongue Music Pub- Meulenyzer of the majors: "Depart- musical sounds that annoy their parents. lishing (Australia/New Zealand) and ments that were ten people are now Thanks to Cheryl, James and also Debbie Andy Budde of Budde Music, Inc. three people. They can't devote atten- Dumas for helping to put together such a (USA/Germany). I also correspon- tion to the titles." According to Budde, great panel. ded via e-mail with John Fogarty of titles at the majors often don't get Tonight’s meeting, “Return of the Fo- Minder Music Limited (UK). I asked properly registered in all the territo- reign Sub-Publishers,” hosted by past CCC all of them about the state of inde- ries, because the paperwork is just President Teri Nelson Carpenter, will bring pendent publishing, with a focus on too much for the reduced staff to us up-to-the-minute information about the the differences between the indies handle. state of international music publishing. and the majors. I asked them to Exacerbating this problem, of Our panel consists of musical experts who sell me, essentially, on the concept course, is the enormity of the catalogs are literally from around the globe. of signing with a smaller company carried by the majors. According to For their help in assembling this meaty instead of EMI, Warner/Chappell, Olivieri, majors often "can't find the issue of the accompanying newsletter for or any of the other behemoths on money" when your song is "one in a this topic, I would like to extend special the landscape. billion titles." And he emphasizes that thanks to editor and CCC Board Member Their backgrounds are varied. the work of administration can be Kevin Koloff, past CCC President Steve Wi- Budde grew up in the business, hard, and tedious. Royalty recovery, nogradsky, and John Fogarty of Minder first as a producer, then working for example, involves research and a Music for contributing informative and en- with his father's publishing compa- lot of forms, and "even a spelling error tertaining articles. All the best! ny; he's never worked for one of can cost you money." The indies, he the majors. Meulenyzer, on the says, work hard for their money, and can devote considerably more attention that the territories are not cross-colla- French are French first." Meaning that on a title-by-title basis. teralized (or, as we say in shorthand, if you're not a Frenchman/woman doing And it's Meulenyzer who thinks this "crossed"). If you sign a worldwide deal business with French productions, is what the panel's title is about: With with EMI, you may have a song that you're not likely to make much head- the recent staff reductions, the majors does big business in France, but never way in that territory. are going to stumble in their collections see royalties from that territory, since Further, says everyone I spoke to, and administration, setting the stage your worldwide advance has to be re- the size of the majors' catalogs means for the indies to rise in prominence. couped before you're paid anything. A that the advantage of TV/Film (It's not what Teri meant, of course, one-off deal in France, though, lets you placement is limited to a select few. "If but when I tell her about the theory, earn royalties despite the fact that the they have hundreds of thousands of she likes it.) song hasn't set Spain or Germany on songs, how will they do all their songs 2. Personal Attention: All of the fire. justice?" asks Fogarty. publishers I spoke to made a big deal Just as importantly, if you go with Gough has a particularly strong out of this. "If a writer is with an indies, "you get to pick the best person viewpoint here: his three-year-old pub- Independent it is likely that everyone in in each territory," says Budde. Fogarty lishing company is an outgrowth of a the company will know who he is," says is a bit more blunt: "Majors may argue twenty-year-old business, Mana Music Fogarty. He points out that with the that they have their own offices in each Productions, which supervises music for revolving-door personnel of many territory, but they may have a good film and TV in Australia and New majors, even if a writer establishes a operation in one territory but not so Zealand. When he's acting as a music relationship with someone at a big pub- good elsewhere." supervisor, and goes to the majors for lisher, that person may be gone the 5. Advances: Here, even the zeal- songs, "they don't come back with next time there's a merger/take- ous advocates of the indies have to ideas -- only the indies do. Indies are over/mass of layoffs (pick one). "We admit, the majors have the cash flow to proactive." (This is a common theme can pay a lot more attention to in- have an advantage. "However," says among the indies I spoke to, and not dividuals than the majors," agrees Fogarty, "majors may be under just in the area of film and TV Gough. pressure for market shares. They may placement.) According to Olivieri, many writers enter into 20 different situations paying Budde concurs: movies today, he have taken the lure of the big advance advances on the basis that if one hits says, are "filled with 60's, 70's and 80's (more on that later), signed up to a they will recoup the monies laid out on music. It's what the directors grew up major for a long term, then watched all the others. Independents will sign a with, they pick their own stuff." He while their only contact at the company lesser number of writers and on a very questions whether the placement was let go. Unless their songs catch on selective basis." In other words, there's departments in the majors do business fire immediately, without a friend on a price to pay for that big initial check: because they're being proactive, or if the inside, these writers are stuck with you're likely to get lost in the crowd, it's just because they have the hits the a company that doesn't care about written off as one of the losses the filmmakers want. And if a director them. company has to suffer to find the one wants a particular song, he (or the stu- Olivieri puts it another way: "A writer in 20 that's going to pay off big dio, or the clearance person) will come child can be taken care of by his mo- for them. to you to get it. ther, or put in day care. Both of them Further, says Fogarty, "in the mo- Finally, both Meulenyzer and Fo- will take care of the kid, but one is dern era many of the Independents are garty pointed out to me that in many clearly getting better care than the well funded and can pay reasonable territories, this aspect of the publishing other." (As a parent, I bought into this advances." So maybe doing the work of business can be outsourced. There are completely.) making deals in each territory can get people who have set up businesses 3. Flexibility in Business Dealings: you 15 smaller advances, uncross the specifically to pitch product to film and The majors, say our panelists, are just territories, and let you cherry-pick your TV, and the independent publishers can too big to tailor their deals to the writer publishing rep in each part of the develop relationships with these busi- or catalog involved. "There are some world. nesses and use them to the benefit of great people working at the majors," 6. What About Placement of Songs their catalogs. Many of them, says Fo- says Fogarty, "but the way things have in Films and TV? I asked each of the garty, were "set up by people formerly evolved with mergers and so on means publishers to address the fact that employed in the synch departments of that they are under various constraints majors have whole departments majors." In summary: It's not with the way they are allowed to work." dedicated to getting their songs into unexpected that the people I talked to Says Gough: "We own the com- film and TV productions. Can the indies felt so strongly about the benefits of pany. We're not bound by international do that? Yes and no, as it turns out. doing business with the indies. It's their corporate policies. We don't have Everyone concurs that an indie is bread and butter, after all. And I, for policies. We're over 21, we can do what unlikely to have the manpower to one, would be interested in seeing a we like." match, say, EMI's Film and TV Dept. response from any of the giants out 4. The Multi-Territorial Approach: But there are a lot of offsetting factors, there. Budde admits that it's easy to go they say. Above all, I learned that these guys structure a deal with Warner/Chappell For one thing, the majors' depart- (and by the way, why are they all for the world -- "one contract, one ments tend to focus on American films guys? No females in the indie statement, one check" -- but he thinks to the exclusion of the rest of the publishing world?) are all smart, it's a mistake. Doing the heavy lifting world; their foreign offices don't tend to experienced, feisty, well-spoken ad- and negotiating, say, fifteen deals with have these specialty departments. vocates. I look forward to a great panel different territorial publishers brings "They don't have anyone in France with the independent sub-publishers. advantages, not the least of which is doing this stuff," say Budde. "And the Wherever they're returning from. The Global Royalty Collection System For Music Publishers and Owners of Sound Recordings Steve Winogradsky

Administration of a copyright in- Other terms in a foreign sub-publi- foreign territories. volves handling the business functions shing agreement apply to semi-annual The mechanical licensing fees paid of a music publisher. This may involve accountings and payment to the U.S. by the record companies outside the only the collection and distribution of publisher, auditing rights, print rights, U.S. are calculated differently from the royalties and license fees or may include the right of the sub-publisher to collect method used in the U.S., where the co- all the same activities as a music pu- and distribute income earned during the pyright law determines the amount paid blisher, such as registering the copy- contract term, which may or may not per song on a “fixed” number of cents right, issuing licenses and actively seek- include the right to collect income per copy sold (the “statutory rate”), or ing exploitation of the work. earned during the term but paid post a negotiated percentage thereof. Several instances of the rationale termination, etc. In Europe, the rate is covered by an behind administration are discussed ab- In acquiring foreign administration agreement between the European part ove, but the most valid reason for as- of a copyright, the sub-publisher acts in of the International Federation of the signing the administration of a copyright the place of the copyright owner, ma- Phonographic Industries (IFPI) and the to another party is because they have king business decisions in consultation Bureau International des Societies Ge- the expertise and resources to properly with and on behalf of the owner and rant Les Droits D’Enregistrement et de exploit the work and the ability to en- handling all legal and financial matters Reproduction Mechanique (BIEM), the force the rights of the copyright owner in their territory. For these services, the international organization representing both with regard to use of the copyright sub-publisher will usually charge a fee mechanical rights societies. Mechanical and the collection of royalties. Many (a negotiated percentage of the pub- rights societies exist in most countries. writers and artists do not have the lisher's share of gross revenues) plus They license the reproduction of songs background necessary to properly pro- reimbursable expenses. (including musical, literary and dramatic tect their intellectual property or to ma- When acquiring these administration works). Their members are , ximize its exploitation. Having an admi- rights, the sub-publisher must notify the authors and publishers and their clients nistrator look after the business aspects applicable performing and mechanical are record companies and other users of allows creative people the freedom to rights societies of the agreement recorded music. They also license me- do what they do best -- create -- while between the parties so that royalties chanical aspects of the downloading of someone else takes care of the details. are paid directly to the sub-publisher. music via the Internet. Members of One form of administration is a for- This is done, in part, through the use of BIEM enter into agreements to allow eign sub-publishing agreement . To the fiche internationale , a database link each of them to represent the others' this day, sub-publishing is unquestion- between the foreign societies for the repertoire. In this way, a BIEM society ably the most common arrangement a titles that they each control. is able to license users for the vast ma- music publishing company makes for Foreign sub-publishers perform ma- jority of protected works in the world. the representation of its catalog over- ny of the same functions as domestic BIEM negotiates a standard agree- seas. This grants a foreign publisher the administrators. They register copyrights ment with IFPI fixing the conditions for right to administer a copyright (or a ca- with the local performing and mechani- the use of the repertoire of the societ- talog) in their country and to collect the cal rights societies, issue licenses for ies. The standard agreement is applied royalties earned in that territory. Ha- uses originating within their territories, by the member societies to the extent ving foreign sub-publishers is important collect royalties and monitor the use of that there is no compulsory licence or because the policies and activities in your copyrights. It is important to notify statutory licence in their territory. The each country are very different and ha- them whenever a license is issued for mechanical rate is a percentage of the ving a local representative to act on any type of use so that if the product is record company’s sales price to the re- your behalf can make a big difference in distributed or broadcast in their territo- cord retailers. This price to the record the timeliness and amount of royalties ry, they can be sure to collect the royal- retailers is generally referred to as the collected as well as the protection and ties earned. Copies of music cue sheets published price to dealers (“PPD”), and enforcement of your copyright in that for movies and television programs is approximately what we would term territory. (with translated program titles and dis- the wholesale price. PPD is not the actu- Sub-publishing deals are usually for tribution schedules, if possible) should al price to the dealers but includes indi- a term of generally three to five years; be supplied to your sub-publisher so vidual various add-ons (year-end-bo- a territory, usually a specific country or that they may advise the local perform- nuses to dealers, etc.) and deductions contiguous countries (such as Spain and ing rights societies of the use of your (taxes, packaging, etc). The current Portugal); a royalty split, i.e. , the per- copyright. rate is around 9%+/- of PPD and does centages of collected monies to be divi- Mechanical royalties (for the not allow for reductions in the rate that ded between the foreign sub-publisher sales of audio-only product, such as vi- are common in the U.S., even if the and the U.S. publisher; an advance ag- nyl records, audio tapes, CDs and digital songwriter/artist is bound by a con- ainst monies to become due the U.S. downloads) are paid by the record com- trolled composition clause in their ag- publisher; and, finally, a provision for panies to the local mechanical collection reement with the record company cal- “covers,” that is, a new use of a sub- society, who then pays them to the local ling for a reduced mechanical rate for published composition originating within sub-publisher. In today’s sub-publishing songs they control. a sub-publishing territory such as a new agreements, the sub-publisher collects For digital phonorecord delivery, or recording by a local artist. 100% of the mechanicals in their downloads, the same concepts apply. The downloads are treated as a physical PROs. to the publisher, who shares with the sale, the same way they are by the U.S. Keep in mind that, unlike the U.S., writer according to their agreement. record companies, and a percentage of motion picture theatres in Europe and Foreign sub-publishing administration PPD is paid to the publisher as a mecha- other countries pay public performance can be handled by one of the multi-na- nical royalty for each song downloaded. royalties for music played in their thea- tional companies for the entire world (or And, as in the U.S., royalty rates are still tres. Historically, this has been based on world excluding the U.S. & Canada) or being determined for the streaming of a percentage of box office receipts (ap- deals can be made in each territory (or music. proximately 1%). More recently, a “flat group of territories) with different par- The sub-publisher, after receiving fee” annual payment is made by the the- ties, including the local office of one of 100% of mechanical royalties, will deduct atres to the performing rights societies. the multi-nationals. There are advanta- its share of the mechanicals for a parti- In addition, unlike the U.S., where ges and disadvantages to both methods. cular song “off the top” (usually between royalties from most concert halls, clubs, The advantage of dealing with one 10% - 25% commission). The sub-publi- shopping malls and other public places multi-national company for the entire sher then accounts to the owner for the are put into a “general fund” for distribu- world is that the larger companies may remaining share (90% - 75%) in form of tion in the same ratio as royalties from be in a position to pay a substantial ad- a royalty statement and the respective television and radio, the foreign societies vance against recoupment of future ro- payment(s) thereof, usually on semi-an- monitor these types of uses more closely yalties. Also, there is only one (large) ro- nual basis. The owner will then pay the and pay based upon actual performan- yalty statement to review. The disadvan- writer(s) their share of the income re- ces. The various venues collect set lists tages of dealing with a large company is ceived according to the agreement be- from the performers and submit them to that your publishing interests may get tween the writer(s) and the owner. the PROs for a more accurate payout. In lost in the shuffle and not get the Foreign sub-publishers may also try this way, a foreign sub-publisher can as- attention that you think it deserves. to get "cover" recordings done by artists sist in making sure that the local PRO is Conversely, dealing on a territory-by- in their native language. This would ge- aware that the artist performed certain territory basis, you can pick the adminis- nerally entitle the foreign sub-publisher songs so that royalties can be paid on trator in each country that best suits to retain a higher percentage of royalties those songs. The same applies to supply- your needs, even if it is the local office of (25% - 40%), since it was their direct ef- ing music cue sheets for all television one of the multi-nationals. But you will forts that resulted in additional income. programs containing the U.S. publisher’s have many royalty statements to review, If a foreign lyric is created, most of the music so each broadcast is properly each with a different structure and for- foreign countries have standards where- logged and credited. mat, with varying administration fees by the foreign lyricist participates in a In some countries there is a type of being deducted. share of all royalties earned by the for- income still in existence that is mostly If a domestic publisher requests an eign version. For mechanicals, the for- accounted for by the sub-publisher to the advance, the commission of the sub- eign writer takes a part of the sub-publi- owner as “broadcast mechanical publisher will most likely increase as a sher’s increased percentage but for per- fees ”. Originally, this goes back to times cost of the money advanced. So a 90/10 formances, the foreign lyricist receives a when radio stations recorded performan- or 85/15 deal becomes 80/20 or 75/25. portion of the writer’s share of income. ces by artists/orchestras and then “dupli- But it is possible that the combination of When entering into a foreign admini- cated” the tapes of the original recording advances or the total of advances and stration deal, a publisher should try to and sold it to other radio stations, there- royalties you can get from a number of retain approval rights over any foreign fore creating “mechanical reproductions”. small companies can exceed that of a lyrics, as they may not be literal transla- The radio stations never paid an addi- multi-national. tions of the English lyric. In addition, the tional amount for this kind of mechani- For example, let’s say that Big Publi- percentage of the performing rights in- cals but it was taken out of the total mo- shing Co. offers you an advance of come may be different that in the United nies paid by the radio stations to the per- $500,000.00 to cover 5 territories and States. For example, SACEM, the French forming right societies and being treated your earnings for those territories are as society, pays two-thirds of the perform- as a mechanical. This now applies to mu- follows: ing rights income to the composers and sic in television programs as well and can only one-third to the publisher. amount to approximately 30% of the Terr. 1 $100,000.00 Public performance royalties are performance royalties earned. Although Terr. 2 $ 50,000.00 collected through performance rights so- collected by the performing rights socie- Terr. 3 $ 50,000.00 cieties (“PROs”) and, unlike the division ties, this income is treated by the socie- Terr. 4 $125,000.00 by the U.S. PROs of 100% of the writer’s ties as mechanicals, with 100% being Terr. 5 $125,000.00 share and 100% of the publisher’s share, paid to the sub-publishers instead of to ======are divided into 12/12 outside the United the U.S. PROs so, unlike performance ro- Total $450,000.00 States. The writer’s share of 6/12 is paid yalties, it includes the writer’s share(s). Advance $500,000.00 by the local performing rights society di- Domestic publishers, who don’t under- ======rectly to the writer’s U.S. performance stand this distinction and don’t know how Balance $-50,000.00 rights organizations (ASCAP, BMI or to properly decipher a royalty statement, SESAC). The remaining 6/12 represent are sometimes of the mistaken belief As your earnings did not meet your the owner’s and sub-publisher’s share of that they get to retain 100% of this in- advance, you would be obligated to con- the performance income, which is paid come without paying the writer their tinue your deal with Big Publishing Co. 100% to the sub-publisher. share. and would not receive any further royal- If there is a new lyric in the local lan- Other types of income, such as print ties until your advances were recouped. guage, the local adapter’s (local lyric wri- royalties for sheet music and choral or In contrast, let use the same earn- ter(s), arrangers, and others) share(s) of band arrangements, or synchronization ings but assume that you received a se- performance royalties are automatically licenses for motion pictures, commer- parate advance of $100,000.00 each deducted by the local societies out of cials, etc. are collected directly by the from smaller publishers in the same terri- U.S. writer’s share of performance royal- sub-publisher without any involvement of tories. While you would be unrecouped in ties before payment is made to the U.S. collection societies and are paid directly territories 2 and 3, territories 4 and 5 would be obligated to pay you the er cannot expect much in the way of portunity of a reasonable advance $25,000.00 earned over the advance in song plugging or promotion of its copy- through a sub-publishing deal in those each territory for an additional right. But you can expect the exact same countries. As to other parts of the world, $50,000.00. professionalism that most foreign publi- the other representation alternatives can Also, keep in mind that writers are shers apply to the administration of their be applied. paid on royalties earned by their songs own catalogs or to sub-published cata- It is crucial that the arrangement be only, not total moneys received by the logs. For instance, where matters arise made with an experienced and reputable publisher for the entire catalog, so until whereby a time consuming effort has to foreign firm. A large advance from a firm the advance begins to be recouped out of be expended by a foreign publisher on you wouldn’t ordinarily deal with if you the writer’s songs, the publisher gets the behalf of a U.S. catalogue that pays a were trading baseball cards will get you benefit of the money in hand before very small collection percentage, I have exactly what you bargained for—trouble. having to pay the writer. always noted that this effort was forthco- If you do not know if a foreign company A good sub-publishing agreement ne- ming ungrudgingly. Whether it is a com- you are about to deal with is reputable or gotiated from a favorable position would plicated negotiation with the local society efficient, it is incumbent on you to find probably contain the following: or negotiating a major commercial, a out. This can be accomplished by check- • No advance or if anything, a token good foreign representative acts pro- ing with other U.S. publishers or with a advance, in exchange for a smaller com- fessionally regardless of the percentage lawyer knowledgeable in this field. The mission of gross revenues; to be retained. Other important aspects international music publishing community • A term of usually no more than of the sub-publishing deal, including the lives in its own glass house. Any over- three years, which is often the minimum prompt and accurate registration of the seas publisher you have dealt with and term permitted by foreign societies for U.S. compositions with the local society whom you have some rapport with will registration for foreign owned copyrights and an ongoing dialogue with the U.S. often know the reputation (or lack of by a local representative. publisher as to the activities and uses of one) of publishers in other countries. Na- • These deals can provide that when the U.S. catalog’s copyrights in the turally, consensus is better than one the term expires, collection rights to in- foreign territory. opinion. come earned during the term also expire, An astute publisher can mix and The alternatives must be considered but the more common provision is the match the alternatives described in this carefully and the choice made wisely. Fo- continuance of collecting royalties earned article and thereby manage its catalogs reign earnings have become too impor- during the term for at least an additional overseas in the most optimum manner. tant a part of the U.S. publisher’s income year or until fully collected. The publisher can choose to apply any of portfolio to be dealt with in any other • Accounting and payment proce- the alternatives described in this article way. dures, approvals of translations, copy- that best fits its needs on a territory-by- right notices, etc ., would be similar to territory basis for good results. The author gratefully acknowledges the usual provision of a domestic pub- Where the specialized content of a the contributions of Andreas Budde and lishing agreement. certain catalog requires that it be actively the late Martin Cohen, Esq. to this It is true that under the terms of promoted in certain countries, the U.S. article . some sub-publishing deal a U.S. publish- publisher can avail himself of the op-

IN MY OPINION

John Fogarty Minder Music Limited

In my opinion, music publishers in product –- check the reaction! development costs. But don't we have many of today’s markets are undervalu- One of the biggest scandals of the costs? What about those ing their copyrights. Without wishing to modern era is the amount of money you have been developing and keeping revoke the War of Independence, I have that the makers of electronic video alive for years! Or don't music publish- to say that U.S. publishers are among games are getting away with paying, ers need to eat like everyone else? the guilty here. THE 3/4 RATE -- What i.e. , sometimes as little as $2,500 a (perhaps I should forget that one, judg- is that all about!! "I want to use your song for products that gross tens of mil- ing by some of the well-fed-looking cha- music but only want to pay 3/4 of the lions of dollars. Last year, we were ap- racters that I saw at Midem). going rate"! Once this situation pre- proached by a major US games manu- What we always need to remember vailed, I believe that third party users facturer for one of our copyrights (a is that what we have is valuable. Try of music gained a psychological advan- classic track from the 80's) and making a film, commercial or indeed a tage when negotiating with publishers. were offered $2,500 for use on a video video game without music. Have I been "We would like to use your music but game which would gross over $100 mil- guilty of allowing a Minder Music work we only have a limited budget –- but it lion. We checked some of the other to be used too cheaply? –- yes! Howev- will be great promotion for your music." works that were being considered, and er, the past is the past for all of us. Now How many times do we hear that when decided to contact some of the other we are moving into a new era where the talking to film and TV companies? Next publishers. We suggested that the big lines between the music publishing time that you’re thinking of buying a companies should make a stand and not fraternity and record companies become car, go into the dealership and suggest allow uses for these minimal rates –- blurred. We are all rights owners now. that you pay 3/4 of the asking price. the reaction? "If they don't use our It is essential that deals are not made Suggest to the dealer that he should works they will use someone else’s." and rates set for all the new techno- agree because when you drive the car The argument commonly cited by the logies that we will regret as the old around it will be great promotion for his producers is their high production and income streams fall away.