Fall 2003

HEADLINES



Fritts/Williams/Candilora

NAB Crystal Awards

On April 8th, 2003, ASCAP Board member and songwriter Paul Williams spoke to the broadcast industry during the annual NAB Crystal Awards Luncheon in Las Vegas. Pictured (l-r) are NAB President & CEO Edward Fritts, Paul Williams and ASCAP Senior VP of Licensing Vincent Candilora.


ASCAP Distributes Over $2.3 Million in ASCAPlu$ Cash Awards

ASCAPlu$

"Approximately $2.35 million in cash awards for 2003 - 2004 has been made to ASCAP writer members by the Society's ASCAPlu$ Awards Panels," said ASCAP President and Chairman Marilyn Bergman.

The purpose of these special awards, which have been given each year since 1960, is to reward writers whose works have a unique prestige value for which adequate compensation would not otherwise be received, and to compensate those writers whose works are performed substantially in media not surveyed by ASCAP.

Commenting on the awards, Bergman said, "Since 1960, the unique ASCAPlu$ Awards program has provided deserving music creators with something meaningful and tangible in the form of recognition and money. I can attest to this personally because at an early stage of my career, I was a Special Awards recipient. As always, we are greatly indebted to each of our hard-working panelists for giving their time and effort to this important endeavor."

The members of the Popular Awards Panel are: Peter Filichia, drama critic for the (Newark) Star-Ledger; Peter Keepnews, a journalist specializing in jazz and popular culture; Melinda Newman, West Coast Bureau Chief of Billboard; and Pat Prescott, veteran radio personality who currently co-hosts the morning show, "The Wave," on KTWV in Los Angeles.

The members of the Standard Awards Panel are: H. Robert Reynolds, Professor Emeritus at the University of Michigan; Greg Sandow, music educator, composer and classical music critic for The Wall Street Journal; and Fred Sherry, world-renowned cellist and member of the Chamber Music Society of Lincoln Center.



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Online Title Registration to Replace Paper Forms and Diskettes by End of 2003

ASCAP's online title registration system on the ASCAP website will soon replace paper title registration forms and diskettes as the number one way for members to register their titles with ASCAP.

The free online title registration service, created in 2001, has been a huge success with ASCAP members. It streamlines the process, improves accuracy and is less expensive. In addition to our online service, members may also register works through the Common Works Registration (CWR) process.

Paper registration forms and diskettes will be phased out by the end of 2003. Members without direct access to the Internet may register their works at ASCAP's Membership offices in New York, Los Angeles, Nashville, Miami and Chicago. In addition, Internet access is available through many public libraries. For those few members who have no access to the Internet, paper forms will be accepted and processed for a small fee.

Members who have not yet registered their titles online simply need to go to the "Title Registration" area of ASCAP's website (www.ascap.com) and create an online account using their member number and a password they select. Once an account is set up, registering titles is quick and easy.



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Are You Eligible for Special UK Royalties?

Pamra

ASCAP collects more foreign public performance money for writers and publishers than any other PRO in the U.S. But for those writer members who are also performers, additional money may now be available. PAMRA, the Performing Artists' Media Rights Association (UK) has come to ASCAP with news of potential airplay royalties owed to ASCAP members who have performed on tracks recorded in the UK and other qualifying territories, including most of Europe, Canada, Mexico, Japan and other countries that recognize this performer right. If the track has received airplay in any of these qualifying territories, royalties are due to all performers on the track, regardless of their citizenship.

A royalty is generated both for the composer/songwriter and for all performers on a sound recording each time it receives public broadcast. Of course the composer/songwriter royalty is collected and distributed by ASCAP. But the performer copyright does not exist in the U.S. PAMRA has undertaken a drive to contact U.S. performers to inform them of monies owed to them for tracks recorded in the UK and these other territories.

Many performers are unaware that they may be owed money. ASCAP members who think they qualify for this royalty fund should visit the PAMRA web site at www.pamra.org.uk for more information. If you've recorded and received airplay in the UK and these other territories, don't leave your money on the table!




Playback : Fall 2003
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