Idolator

You know, not so interestingly, I worked for a short while at ASCAP. Mostly I remember that the amount of functions, award ceremonies, press-breakfasts & conferences you're expected to attend is numbing.

Also, musicians, don't under-estimate the power of your performing rights organization in getting your music heard. The reps, at least at ASCAP, have pretty good pull & contacts, and there are more than a few acts that owe their success/contracts to their PRO. It's in their best interest to get your music played.

Most of the questions I have I need to ask my BMI rep directly. But more generally, how is BMI tracking the usage of the songs they represent, especially at bars and clubs? And how do they determine how it's divided?

I don't know if this is a "good question" but what's with all of the "Ed Wood"-ism with labels these days?

By "Ed Wood"-ism, I mean people with some money to burn at record labels or who run record labels acting like they think they're going to change the world by unleashing gold on everyone, marketing the wrong kinds of music to the wrong kinds of people only to find out that their projects are exactly the failures people who know what they're talking about told them they would be?

I know times are desperate out there but isn't the glorification of a certain kind of douchebaggery, as a way to make up for the tremendous losses the industry has seen, becoming a serious problem?

Ok, all that stuff was a rhetorical question. Real question: what is BMI's stance on the whole internet radio controversy and do you personally agree with that stance?

additionally, if the musicFirst coalition manages to secure a performance right for terrestrial radio, do you think future internet/sat radio rate determinations will be more lax?