[PDF] ASCAP/BMI Comment - 2015: BMI Songwriters and Publishers

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November 20, 2015

Chief, Litigation III Section

Antitrust Division

U.S.

Department of Justice

450 5th Street NW, Suite 4000

Washington, DC 20001

Re: Justice Department Review of the BMI and ASCAP Consent Decrees

To the Chief of the Litigation III Section:

Each of us is a songwriter and an affiliate of BMI. We truly value our a ssociation with BMI. We write today in response to the Justice Department's request for pu blic comments on the issue of whether BMI and ASCAP's consent decrees should require t he PROs to license on a 100% basis, as opposed to fractionally licensing jointly -owned songs, which has been the historical industry practice. It's important that our vo ices are heard, because a shift to 100% licensing would severely impact our creative freedom, our ability to choose which PRO licenses our music and, ultimately, our livelihood as s ongwriters. Songwriters are the ultimate small business owners. Many of us have fami lies that depend on the income we receive from BMI. Each of us has carefully chosen BMI as our PRO for multiple reasons: the trusted relationships we've developed t here; the opportunities BMI provides for our music to be heard; the various creati ve networking opportunities BMI provides; and, at the end of the day, we like the way BMI v alues our music and fights for writers to get fees that reflect the fair value of our creative work. Like most modern songwriters, we often choose to collaborate with other writers. Just recently, every song in the Top 10 on Billboard's Pop, Country, Chris tian, and R&B/Hip- Hip charts was the result of collaboration. If the practice of 100% lice nsing is mandated by the Justice Department, our co-written works could be licensed - a nd we could be paid by a PRO that represents our co-writers' interest in our songs. The l icensing fee the other PRO charges might be lower than the one BMI has negotiated or foug ht for in rate court, and despite our chosen affiliation, we would have to accept the l ower fee. Because BMI values music differently than other PROs, we also wouldn't be abl e to keep the benefits of BMI's specific valuation system. As a result, having our work licensed by a different organization than t he one each of us has chosen could dramatically affect our income. It could delay and pote ntially lower our royalty payments, which would now have to flow through two PROs. Somehow we would each have to monitor what we are being paid by a PRO we have no re lationship with, figure out whether they have missed any of our performances, under stand how and when they will pay us, determine whether we are getting our f air shares of bonuses under the other PRO's distribution system, and so on. For these reasons, it might no longer be financially viable for any of us to collaborate with a writer outside of BMI. It also might not be creatively viable either. The creativity and succes s of any songwriter stems from being able to work with songwriters of our choosing, regardle ss of their PRO affiliation. If the 100% licensing model were imposed on the PROs, in or der to keep our work entirely within BMI, our PRO of choice, we would have to collaborat e only with fellow BMI writers. All of a sudden, our individual and careful choice o f collaborator would not be driven by artistic chemistry or compatibility, but by rules imposed by the government. The 100% licensing model sounds like the government stepping into the creative process and effectively dictating our collaborators and our lic ensing representatives. As we understand it, music users from radio to digital music services to local television have all traditionally paid the PROs according to their respective share s of the music. Similarly, BMI has only ever paid us for our shares of co-written songs.

What the Justice

Department is contemplating is in stark contrast with how the PROs have been conducting business for decades and would wreak havoc in the songwriting world as we know it. Each of us urges you to carefully consider your decision and take into a ccount the impact it will have not only on all songwriters across our nation, but also on our creative contributions to American culture. Without the freedom to collaborate an d choose representation, the profession of songwriting is in jeopardy, as is the music that touches all of our lives.

Very truly yours,

Cynthia Weil

: "You've Lost That Lovin' Feelin'" -The Righteous Brothers, " "You're My Soul and Inspiration" -The Righteous Brothers, "Here You Come Again" -Do lly Parton

Draco Rosa

: "Livin'

La Vida Loca" -Ricky Martin

Maury Yeston

: Composer of Broadway Musicals- "Nine," "Titanic," "Grand Hotel"

Bill Anderson:

"I Never Once Stopped Loving You," "All The Lonely Women In The World," "City Lights," "Still," "Mama Sang A Song"

Stephen (Steve) Cropper

: "Green Onions," "In The Midnight Hour," "Knock On

Wood," "(Sitting On)

Th e Dock Of The Bay"

Ester Dean:

"Come and Get It" -Selena Gomez, "Firework" -Katy Perry, "

Hot Totty"

Usher, ÒI AmÓ -Mary J. Blige, ÒMr. Know It AllÓ -Kelly Clarkson, ÒRight NowÓ, ÒRude

Boy,Ó ÒS and M,Ó ÒWhatÕs My Name,Ó ÒWhere Have You BeenÓ ÐRihanna,

ÒSe

x

TherapyÓ -Robin Thicke, ÒSuper BassÓ -

Nicki Minaj

Stephen A. Stills

: "For What It's Worth," "Carry On," "Love The One You're With," "Spanish Suite," "As I Come Of Age" -Crosby, Stills, and Nash Mac Davis-"A Little Less Conversation," "In The Ghetto" -Elvis, "I Believe In Music," "Texas In My Rearview Mirror"

Dean Dillon:

"Tennessee Whiskey" -George Jones, "The Chair," "Nobody in His Right Mind Would've Left Her," "It Ain't Cool to Be Crazy About You," "Ocean Front Property," "Famous Last Words of a Fool" -George Strait

Songwriter Signatures Page 2 of 247

Kylie Sackley: "Nothin' Bout Love Makes Sense" -Leann Rimes, "Sunshine & Summertime" - Faith Hill, "Its Just That Way" - Alan Jackson

John Cafferty

: "On The Dark Side" -Eddie And The Cruisers

George S. Clinton

: "Austin Powers" movies, "The Santa Clause" movies

Anne Preven

: "Torn" -Natalie Imbruglia and One Direction, "Listen" -Beyonce, "Self Inflicted" -Katy Perry, "Nightingale" -Demi Lovato, "Where The River Goes" -Zach

Brown Band, "Sanctuary" -Madonna

Will Rambeaux: "Wild One" -Faith Hill, "How Was I To Know" -John Michael Montgomery, "Good At Startin' Fires" -Blake Shelton

Gunnar Nelson

: "(I Can't Live Without Your) Love and Affection," "After The Rain," "More Than Ever," "Only Time Will Tell," "(You Got Me) All Shook Up"

Allen Reynolds

"Five O' Clock World," "Ready For The Times To Get Better," "Dreaming My Dreams With You"

Lori McKenna

: "Girl Crush" -Little Big Town

Edward Zgorecki

: "Mony Mony," "Crimson and Clover," "Crystal Blue Persua sion," "Hanky Panky"

John Wiggins:

"Tequila Makes Her Clothes Fall Off," "Who Are You When I'm Not

Looking," "Anything Goes"

Enrique E. Garcia

: "Conga," "123," "Dr. Beat," "Rhythm Is Gonna Get

You" -

Miami

Sound Machine

Scott Lynch

: "Ala-Freakin-Bama" by Trace Adkins, "Bethlehem in Birmingham" by Toby Keith, "Pictures on Mantles" by Trace Adkins, "Last Man St anding" by Trailer Choir

Richard Band

: Scores for "ReAnimator," "PuppetMaster," "Ghoulies," "Walker Texas Ranger," "Stargate SG1," Disney, Masters of Horror

Jack DeJohnette:

Jazz composer

Robert Feldman

: "I Want Candy," "My Boyfriend's Back," "Nighttime," "Thank You and Goodnight"

David Frasier

: "The Woman With You" -Kenny Chesney, "Drinking Class" -Lee

Brice,

"Love Was Easy" -Jason AlDean, "Wouldn't Want It Any Other Way" -Tim McGraw, "Hillbilly Rich" -Trace Adkins

Chad A Gracey

: "Lightning Crashes," "I Alone" - Live Scotty Emerick-"I'm Just Talkin' About Tonight" with Willie Nelson; "Beer for My Horses," "I Love This Bar," "Whiskey Girl," and "As Good as I Once Was" with Toby Keith

Tommy Coster

: "The Real Slim Shady" -Eminem

Fred Fassert

: "Barbara Ann"

Floyd Brown

: "Ice Ice Baby"

Robert Meriwether Waldrop

: "Roam" - B-52s

Stephanie Bentley

: "Breathe" -Faith Hill, "Concrete Angel" -Martina McBride, "My Precious One" -Celine Dion, "Can't Shake You" and "Wild At Heart" -Glorianaquotesdbs_dbs46.pdfusesText_46

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