I havent published any music yet but I copyrighted some of my song lyrics and i’m hoping to register songs on ASCAP pretty soon. But i’m thinking now what use is it for me to publish my songs if i’m not going to fit into the top 10 percentile that these PRO’s care about?

I’m confused as to how this system really works, I thought I knew but it seems I only know what they tell people and not how it actually goes down. Are we all better off with Sesac or a European Pro?

Either that or it seems a collection of artists will have to build a new system.

They went through a very good period, about 15 years ago, where they aggressively took care of business and got low- and middle-level songwriters paid. Then they seemed to fall apart.

I’m sure they’re very good when it comes to collecting Paul McCartney’s (well-deserved) royalties.

But I’ve always taken the position that, even if I’m owed only one hundred dollars, I’d like to have that hundred. BMI’s method of calculating royalties is obsolete and seems to disregard all the modern delivery systems for music.

I mean, you do not live in a Communist country to work for the community and to receive a shake of hand or better a hug.

Those thousands Danny talks about should join and do something. I understand that artists are not interested so much in an income, but not like that.

It’s outrageous!

There must be thousands like you and me out there and that is why I am writing this post – to support your statements.

I think a brief but direct statement about one of my dealings should make anyone with copyright ownership run, not walk from BMI.

One song my publishing company decided to work with, \”Clinging to a Suitcase\” was used as a “Featured Performance” on a Jenny Jones Christmas Special. The market share was high but the royalty check was only $804.00. That raised eyebrows but no accounting was ever given up even when asked in writing. The next year, the same song was performed on the same show with a similar market share. The royalties were $8.00. Again no accounting was made available.

The songwriters started up a beef and called BMI to claim that their song should be released back to them because it fell into the reversion clause. (anyone ever signing a publishing contract knows that just isn’t something that is going to happen after the song has been on national TV). Without notice, reason or legal right, Chuck from the Nashville office granted their request. When I found out about it I sent a copy of our publishing agreement with a nasty letter and a few months later, the matter was worked out. The songwriters again contacted Chuck and Chuck once again reverted the publishing back to the songwriters without any notice, reason or legal right. (I guess he had something going with the songwriters?) This was the same mistake on the same song with the same people involved. Draw your own conclusions.

This is not the only case to be looked at but anyone can see from just this one song that BMI is a really bad, if not criminal company. They do not pay what should be paid, to not honor their contract to act as my fiduciary – and (who knows the motivation of Chuck) have caused me countless hours of work to undue the grossly negligent actions of good ‘ol Chuck!

For me, this month is the start of new good hope as I transfer all my rights over to ASCAP. They have always been helpful to me when I call them. (as a publishing company, I have names under both BMI and ASCAP) As of this month I will have my writers and publishing exclusively with ASCAP. I would suggest to anyone new to the business that you take these words to heart. To anyone not new to the business, I’m sure you’ve heard this before!