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re: Paul McCartney owns the rights to a bunch of college fight songs
Posted on 9/4/23 at 12:11 pm to Kafka
Posted on 9/4/23 at 12:11 pm to Kafka
Interesting. I just finished a book about the Beatles (a very new one) and it pushed my sympathies a little more in Paul's direction than it's been over the years.
ETA: The book depicts Klein as basically evil. It says Klein himself attempted to purchase Northern Songs.
ETA: The book depicts Klein as basically evil. It says Klein himself attempted to purchase Northern Songs.
This post was edited on 9/4/23 at 12:17 pm
2
Posted on 9/4/23 at 1:42 pm to Big Scrub TX
Macca can be overbearing and pushy but John IMO missed having Macca around to kick him in the arse and get him started on things.
And calling Klein pond scum is an insult to pond scum.
And calling Klein pond scum is an insult to pond scum.
Posted on 9/4/23 at 2:00 pm to InkStainedWretch
quote:
he gets royalties every time they’re played
Others may have better info but I don’t think you have to pay anything to perform a song. You can’t record it or sell it.
Every cover band out there is not paying royalties.
Posted on 9/4/23 at 2:12 pm to Tigertown in ATL
I absolutely could be in the ozone and maybe someone who’s more experienced in such things can chime in, but I thought copyright holders got performance royalties as well?
Posted on 9/4/23 at 3:02 pm to InkStainedWretch
Story out there that Paul visited Jimmy Buffett and his family last week while Jimmy was in hospice care and sang to them.
Respect
Respect
Posted on 9/4/23 at 6:57 pm to Tigertown in ATL
OK I have the deal on performance royalties. No, every cover band who plays “Band on the Run” or “Hail to the Victors” does not have to send Paul, or MPL Communications, a check.
But the VENUE at which those songs are played has to send compensation to a licensing organization like BMI or ASCAP for royalties, it’s part of the cost of doing business.
But the VENUE at which those songs are played has to send compensation to a licensing organization like BMI or ASCAP for royalties, it’s part of the cost of doing business.
This post was edited on 9/4/23 at 6:58 pm
Posted on 9/4/23 at 7:07 pm to Big Scrub TX
quote:
Interesting. I just finished a book about the Beatles (a very new one) and it pushed my sympathies a little more in Paul's direction than it's been over the years.
Paul and John were both huge douches just in their own ways. Paul got tired of John’s heroin addiction. John got tired of Paul’s overbearingness. And they both got tired of George becoming such a good songwriter making them have to compete for less album space. John for one left because by the time they got to the end at Abbey Road George had the two best songs on the album and John knew the jig was up in regards to album space. And then George went on to write All Things Must Pass right away.
Posted on 9/4/23 at 7:20 pm to The Boat
Honestly the thing had run its course. Bands staying together for a jillion years like the Stones is the exception not the rule.
And John’s decision to leave had more layers to it than just fearing competition from George. (They worked together after The Beatles.)
But none of the four of them were ever as good individually as they were apart, that combination made magic.
And John’s decision to leave had more layers to it than just fearing competition from George. (They worked together after The Beatles.)
But none of the four of them were ever as good individually as they were apart, that combination made magic.
Posted on 9/4/23 at 8:04 pm to The Boat
quote:Eh. This is pretty over-simplified.
Paul and John were both huge douches just in their own ways. Paul got tired of John’s heroin addiction. John got tired of Paul’s overbearingness. And they both got tired of George becoming such a good songwriter making them have to compete for less album space. John for one left because by the time they got to the end at Abbey Road George had the two best songs on the album and John knew the jig was up in regards to album space. And then George went on to write All Things Must Pass right away.
I think John should be tagged with much more destructive behavior vis a vis the band than Paul. I mean, he showed up in the studio with Yoko to live there!
I think when it comes down to it, McCartney was just a true, reliable workhorse (genius!) that has been shite on a lot - in no small part due to the Playboy interview John did in the early 70s which kicked of the decades-long era of the official position of Rolling Stone and the cognescenti being that John was the only true genius and Paul was just a hanger on. A truly absurd sentiment. (of course, much later, John claimed he was high on heroin during even that interview and thus to dismiss everything he said!
In the same interview (I think) John prattled on about what a dick he was to George over the years, treating him like a child and only begrudgingly as a quasi-equal in the later years. It really is truly stunning how much George stepped up - sure, not the same volume or just free-flowing genius, but I think very few people would have predicted he would end up putting out 4-5 of the all time classics.
Posted on 9/5/23 at 6:50 am to InkStainedWretch
How about bars? How do know what the song lineup will be so they know where to send the money?
Posted on 9/5/23 at 7:10 am to Tigertown in ATL
A cover band technically would be responsible for paying compensation. However, most of these bands (no offense to anyone) don’t have much to go after.
The publishing companies like BMI and ASCAP have people that go to venues and document what is being played, whether via live band or recorded music. They can also act as a witness in a copyright infringement trial. The publishing houses typically have a yearly royalty calculated that they demand based on the size of the venue, etc. They have a lot of leverage because if they want to make an example of you and sue a venue the statutory damages for copyright infringement can add up fast and in some cases bankrupt the venue. It’s usually easier to just pay. The same situation can apply if music is just steamed from a personal account in a coffee shop or hairdresser shop for example
The publishing companies like BMI and ASCAP have people that go to venues and document what is being played, whether via live band or recorded music. They can also act as a witness in a copyright infringement trial. The publishing houses typically have a yearly royalty calculated that they demand based on the size of the venue, etc. They have a lot of leverage because if they want to make an example of you and sue a venue the statutory damages for copyright infringement can add up fast and in some cases bankrupt the venue. It’s usually easier to just pay. The same situation can apply if music is just steamed from a personal account in a coffee shop or hairdresser shop for example
Posted on 9/5/23 at 8:53 am to BabysArmHoldingApple
Thanks for explanation.
Posted on 9/5/23 at 9:38 am to BabysArmHoldingApple
quote:
The publishing companies like BMI and ASCAP have people that go to venues and document what is being played, whether via live band or recorded music. They can also act as a witness in a copyright infringement trial. The publishing houses typically have a yearly royalty calculated that they demand based on the size of the venue, etc. They have a lot of leverage because if they want to make an example of you and sue a venue the statutory damages for copyright infringement can add up fast and in some cases bankrupt the venue. It’s usually easier to just pay. The same situation can apply if music is just steamed from a personal account in a coffee shop or hairdresser shop for example
Not exactly, BMI, ASCAP and SESAC aren't publishers, they are licensing organizations. They divvy the money up collected from licensing to bars, radio stations, juke boxes, digital streaming and venues, between member publishers, writers and artists.
They have a formula in how they split the money collected, based on estimates of how often songs get covered in public. Certain songs make a lot, because they are covered a lot, others not so much.
I'm sure they send out observers though sometimes. It's not a perfect system, but how else could you do it?
This post was edited on 9/5/23 at 10:04 am
Posted on 9/5/23 at 11:14 am to auggie
You are correct. I used the term publisher as shorthand, but you are correct BMI, ASCAP are not the actual publishers. They represent the publishers, artists, etc.
My venue owner clients feel like they are getting shaken down by the mafia. These representatives compile information from social media and other sources regarding shows etc. (so that the venue can't say that we don't have live bands) and they show up and take detailed notes on what songs are played. The different licensing agencies don't have the same works in their "libraries" so they need to be able to document what works by what artists are actually played. I have seen the observers themselves send the demands, almost like bounty hunters ... and I suspect that there is some type of revenue sharing of any payment collected from the venue.
The venue owner has to decide if he/she really wants to fight a copyright infringement lawsuit in federal court. If you lose, the damages can be staggering because they are statutory minimum damages that can add up fast. And even if you win, you have so spend a lot on defense of the lawsuit.
From the artists' perspective, they feel that they should be paid for reproduction of their works...even if its from a lousy band in dive bar. And, as you say, how else are they going to police this?
My venue owner clients feel like they are getting shaken down by the mafia. These representatives compile information from social media and other sources regarding shows etc. (so that the venue can't say that we don't have live bands) and they show up and take detailed notes on what songs are played. The different licensing agencies don't have the same works in their "libraries" so they need to be able to document what works by what artists are actually played. I have seen the observers themselves send the demands, almost like bounty hunters ... and I suspect that there is some type of revenue sharing of any payment collected from the venue.
The venue owner has to decide if he/she really wants to fight a copyright infringement lawsuit in federal court. If you lose, the damages can be staggering because they are statutory minimum damages that can add up fast. And even if you win, you have so spend a lot on defense of the lawsuit.
From the artists' perspective, they feel that they should be paid for reproduction of their works...even if its from a lousy band in dive bar. And, as you say, how else are they going to police this?
Posted on 9/6/23 at 8:24 am to BabysArmHoldingApple
quote:
My venue owner clients feel like they are getting shaken down by the mafia.
I read an interesting article about how the BMI/ASCAP reps deal with venues. They portrayed the reps as really taking a slow path to a lawsuit, giving the venue owners (who often don't understand the law and are hostile and even threatening) multiple opportunities to buy a license, often over the course of years, before a suit is filed.
I have seen some of the lawsuits, but it's been several years. The complaints are often humorous because they list out each song/artist/publisher that was played during an evening at the local titty bar or pool hall.
Posted on 9/6/23 at 9:58 am to WG_Dawg
quote:
Are you saying there's some kind of counter that tallies the number of times they're played in stadium so the school can know how much they have to pay him?
no, not with live music.
just like if an artist covers another artist, they don't get anything extra for them playing it live.
but anytime it's played on a radio, it's counted. streamed somewhere is counted. etc.
Posted on 9/6/23 at 10:39 am to InkStainedWretch
so did he, and will he, get a cut from EA Sports for the college fight songs that are in the games?
Posted on 9/6/23 at 5:30 pm to VinegarStrokes
He should.
Posted on 9/6/23 at 7:33 pm to InkStainedWretch
IIRC, Paul had Michael Jackson the business idea of buying music rights around the time they collaborated on some songs. MJ turned around and bought up catalogs of Beatles music rights, much to Paul’s later chagrin.
Is this accurate?
Is this accurate?
Posted on 9/6/23 at 9:31 pm to Havoc
I knew a guy who worked for ASCAP and he absolutely went to bars in the 80's. The venue had to pay up.
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