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After 1 failed attempt, I have finally been asked to join SESAC and to begin working with my sponsor. I have signed both the Publishers and Songwriters contracts.
I've done significant research on all 3 biggies in the PRO industry and decided on SESAC, primarily because of their propensity to dabble in multiple genre's.
What I didn't find in my internet search were sites where members gathered, to gather insight on what to expect, expectations of the publisher/songwriter, collaborations, ....
I understand SESAC takes a hand on approach and works proactively with the writer to advance his/her profitability. (and theirs of course).

What am I to expect now that I'm "affiliated" with SESAC?
What of my ReverbNation or Soundclick page?
What am I to expect from my sponsor now that I am a member?


Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

"The best way to find yourself is to lose yourself in the service of others."
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I know SESAC is relatively small compared to the "Coke and Pepsi" of PRO's, but I would appreciate additional input from other members if they've any to offer. However, I reached out to Jody Whitesides in a PM. Here's what he had to say.

"Best advice is: become good friends with your rep.
Always have new music in the pipeline and make them aware of it. Get to know SESAC's website and how to log in - to register music, see catalog, royalties, etc.
Play lots of live shows - register what you play.
Get lots of cuts, placements, etc...."


Thanks Jody



Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

"The best way to find yourself is to lose yourself in the service of others."
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Jody:

Congratulations. Sesac is certainly more selective about the artists and songwriters they allow to enter their front door. I have no beefs with ASCAP but I wish I'd taken more time and risked being turned-down by these folks. I believe they still take time to get to know their members instead of putting them into some spider-web covered file cabinet.

Best of luck.

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Keep writing and polishing your skills. When and if a Publisher wants to sign one or more of your songs, you will be ready for that next step. Publishing Contracts are nice but no gurantee of success. The PRO'S, ASCAP, BMI, SESAC, and others in other cuntries collect Mechanical Royalities and pay directly to the Publisher, if any, and the songwriter. To collect mechanical royalities, no gurantee, you, or a publisher has to register your song or songs with the apropirate pro. The PRO'S each have a registration form they use. Good luck.


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Congrats Blue! Hope you get plenty of TV placements and radio plays.

Best, John smile

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How do they determine if they will accept you?

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Bugsey,

when they decide the affiliation has the potential to be mutually advantageous, by way of an established assessment process.

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I can do 50 pushups without stopping

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you're over qualified. smile

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The first email I received from my "rep," (mind you, this was my 2nd attempt in 3 years banging on SESAC's door), I assumed he was still on the fence. The "interview" is where I think I persuaded him. It wasn't,..." hey, I listened to your stuff, you're in..."

The music is important but (IMO) not as important as his final line of the first POSITIVE response I received from SESAC (below). I've cut out the chit chat...(it didn't hurt that he was raised in San Antonio, as was I,.... he admitted this is why he chose to review MINE!...so, factor that in somehow).

"......As far as SESAC and you we were not so dissatisfied with your music. We have to sign folks that will increase our share of commercial music here in the US rather than sign folks with music we personally like. Being where you are with no music industry town anywhere even close in our experience means not much of a chance for commercial activity for you music no matter the quality. This is a relationship business and getting songs recorded and released in a meaningful way requires a presence here. Another thing to consider from our point is the viability of a writer’s music in how it fits in the existing formats and styles of current trends. For instance, your Jesus song is pretty cool but will not fit in pop/rock/country because of the overt religious lyrical content and won’t fit in CCM music because of the production style. Another thing to consider is that we are not sign-and-forget. If we affiliate you we begin a relationship and expect to try and assist you in your music but frankly, there isn’t anything we can do for someone so far away. So many talented young kids move here and hit it hard leaving little for the out of towners. (Let that sink in)

Love you bio, your RN site and you have some cool songs. I would be happy to help you from here if you want to stay in communication. If we do so, I will get to know you and that will lead to SESAC affiliation despite all the above because the main thing is relationships and maybe we can have one.

Let me know your thoughts on all this."


BOOM! The million dollar question! Let's be honest, I know my music is not where It needs to be and I was a little surprised
that I got this far. But I knew instantly how to respond just by standing back and looking at what he was asking....it doesn't hurt to know a little about how the industry works but if you read his email, you KNOW what the answer SHOULD be....and be honest. If you aren't willing to make sacrifices, neither will they.

So, in so many words I told him, "If you want me to eat lima beans, I'll eat lima beans." And I meant it. If he asks me to move, I'll friggin' move.

It probably didn't hurt that after the denial, I bought a DAW (80 bucks) and over 3 months wrote and recorded 15 songs, so perhaps the string of songs over a short period of time (with a dramatic shift in production value) didn't hurt.

Thanks for the advice and support.

Last edited by Bluesriff; 01/19/14 04:10 AM.

Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

"The best way to find yourself is to lose yourself in the service of others."
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I can't stress the importance of this line, enough..."So many talented young kids move here and hit it hard leaving little for the out of towners."

So those of us who have been throwing our music over the fence hoping someone will find it in that town, why shouldn't they choose someone who MOVED THERE, is always RIGHT THERE, ready to go,...and are in direct competition with all the other "talented young kids?" They are gigging, writing, collaborating, pitching, meeting people, learning about the biz at an exponential rate and most importantly, they are accessible.

I'm guessing it's easier to control and manipulate the young and talented, too. How can anyone compete with that from a distance?

We may have wisdom and experience on our side, but who cares if you've got a really good song in Nashville, if you are not there to run with it....NOW!!

They apparently don't like to wait.

Last edited by Bluesriff; 01/19/14 03:31 AM.

Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

"The best way to find yourself is to lose yourself in the service of others."
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I think it's good that he was HONEST with you and told you like it was. Frankly it's odd he went ahead and took you in based on his own assessment. Perhaps he saw some professionalism in your approach.

I wouldn't expect him to put you on a diet and work out regimen (rhetorically speaking) as that won't do a damn thing for you. The only answer in my view is to write HONEST songs that MEAN something and/or have a memorable hook line, funny/novelty edge, tons of passion and/or has interesting production. Not talking label release quality, but more of an interesting arrangement, something that will stick out sound wise and make them think hmmmm... I think kids will DIG this... or I think this would work in show X, Y or Z.

So your toe is in the door, the work is just beginning.

Brian


Brian Austin Whitney
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PS: I strongly suggest you start using your real, full name. Even I haven't the slightest idea what your name is and you've been here 3.5 years with 1500+ posts. I see them all the time, but nothing sinks in because I don't see as you are committed to building a name for yourself in the real world. Cyber anonymous names scream out against taking you seriously. I realize SESAC knows your name, but look at all the networking opps that come and go around here and usually we tell people to ignore much of what anonymous people have to say.

Not trying to piss you off or run you away, I am just being point blank honest with you. Bluesriff may be a cool pseudonym but there are so many zillions of similar names around the word Blues that it neither stands out as memorable or creative. Be yourself and folks will feel like you take yourself much more seriously. Or don't. You're welcome here either way. But I'd rather have you here AND give you the best shot at success.

Brian


Brian Austin Whitney
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"Don't sit around and wait for success to come to you... it doesn't know the way." -Brian Austin Whitney

"It's easier to be the bigger man when you actually are..." -Brian Austin Whitney

"Sometimes all you have to do to inspire humans to greatness is to give them a reason and opportunity to do something great." -Brian Austin Whitney
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Brian,

Some mighty fine advice, Brian. Thank you. I don't perform under a pseudonym but by my name. "Bluesriff" is just my JPF name, although there is history behind it, I've never used anything but my real name in public.
Every where else (cyberspace) I use my Publishing name (OpenMikeMusic) which is what I signed with under with SESAC.
You are not pissing anyone off but being real in this cut-throat business, and I appreciate that tremendously.

Thank you.






Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

"The best way to find yourself is to lose yourself in the service of others."
Mahatma Gandhi
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Hi Jody:

Those two posts of yours were most informative. As usual, Brian is right about almost anything related to music. He has walked the walk and talked the talk.

One thing you implied, that you would move if the Sesac Rep suggested that you consider doing that. It is my belief (totally unconfirmed) that if you have the talent, it does not make a diddly-do where you live. Consider George Strait and Willie Nelson. Willie left Nashville as soon as he could and George never relocated.

Having viable contacts in all the right places is nearly as important as talent. Your foot is "in the door" and now the real story begins. Best of luck.

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Thanks Dave,

It's something I've been struggling with. I had to set any dreams aside early for struggle, Army, marriage, school, a professional career, family.....I'd like a second shot. Yet, here I am, happy in Gun Barrel City, living on the lake, working p/t....playing p/t. Jamming in Church, my son and his wife; my grand baby, here. I dunno, but I think you made my friggin' day, Dave.
God Bless!

Last edited by Bluesriff; 01/20/14 12:35 AM.

Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

"The best way to find yourself is to lose yourself in the service of others."
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Dave also has wisdom to share and then some. I would say it all depends on your goals and your age. Uprooting and going to Nashville or other music centers (based on genre etc.) makes a lot of sense if you are 18-24. If you have demonstrated legitimately marketable skills which are consistent (meaning, not a one hit wonder, but someone with a significant catalog, some reasonable real world examples of success (i.e. where people with something to lose took a chance with you and you both made some money/had tangible success) or you have no ties to anything and thus nothing to lose so why not go there and start building relationships face to face and plan to spend the long haul there doing so, knowing it still may go nowhere, but you'll be building a certain type of life for yourself. In your case, you've already built a certain kind of life, you've served our country
(THANK YOU!) and you have lots to lose, I would not suggest moving anywhere other than where you are now. Plus Gun Barrel City is about the coolest name ever for a place to live. "The man from Gun Barrel City" writes itself as a bio hook line that will get noticed.

So what do you do from where you are? Start making connections, with regular and frequent follow ups with ALL of them. Actually learn about people, who they are, be their friend (for real) and use those associations to build meaningful bridges in the direction you want/need to go. Few people have no helpful connections of any kind to help you out. Almost everyone is surprisingly capable of boosting you in some small or giant way and only when you peel back who they are and likewise, do those things become apparent. At very worst, they are ripe with their own stories and struggles perfect for your writing inspiration.

You must get better in large jumps at this late stage if real success is your goal. Sure, moving there is a no brainer to a dumb kid with nothing to lose. But let's face it, you're already a winner (Living on a lake, kids/grandkid you still spend quality time with etc. Hell, you're already a big music success Michael. I mean that 100% sincerely and knowledgably. Jamming in church? How rewarding that must be! What could a Grammy offer you to compete with that? Seriously. You've already got it all. AND you have the freedom to, for the joy of doing it, reaching out beyond where you are now, without sacrifice, to "play" music industry for the pure joy of it. It will still take hard work, but it is FUN work, especially when your next meal isn't tied to it. What do most mega stars want? To be able to retire to a lake with their kids and grandkid and make music with people they love and who love them. Sure, creature comforts have their merit, but not the meaning of what you already have.

Just food for thought my friend. Thanks for adding your name to your signature. That's a start.

Brian


Brian Austin Whitney
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Brian,

Big thanks, brother. I've got GBC and my family in an uproar over this. But I think I am staying in GBC for now. My goal is NOT to be some kind of "star". I do want to give myself the best opportunity to market my music but until you hear you're 1 year old grand daughter call you "Papaw" followed by a big, sloppy kiss, ...well, let's just say it beats ALL!
You and JPF are a big part of my recent turn of events. I will do my due diligence as you and other have suggested but I will do that from GBC.
I haven't forgotten what JPF has done and will do my $$$ part for the JPF community, you, Brian, and this fantastic forum.


Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

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I am quite surprised that SESAC takes the time to talk to you at all or to screen their members. As far as I know, BMI and ASCAP are pretty much paper shufflers unless you are a big name. I have never had any one-on-one communication with BMI since I have been a member.

Personally, I would never up and move to Nashville in the hopes of being successful as a song writer. Even good songwriters in Nashville have about as much chance of getting a hit record as winning the lottery, and if you make a few calculations, you will find that today, there is not much money in being a successful songwriter unless you have a huge hit or several hits in a row. One of the reasons for that is that most hit songs are credited to several songwriters so the royalties are being split several ways.

If I lived where you do, I would zip down to Austin one weekend a month and try to connect with a couple of up and coming musicians who might want to record your songs. Let them take the songs to Nashville for you!


Colin

I try to critique as if you mean business.....

http://colinwardmusic.com/

http://rosewoodcreekband.com/


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Collin,

Thank you, sir. As far as I know, SESAC is the only "private" PRO and DO giv that one on one attention, as opposed to the "coke and pepsi" big two.

Appreciate the advice. Austin IS in the plans. I was going to start some heavy giggin down there when the weather warms. NOTHING stifles my playing more than COLD weather.

thank you.

Last edited by Michael W. Brown; 01/20/14 12:11 PM.

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Michael W. Brown, f.k.a. "bluesriff"

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> Play lots of live shows - register what you play <

focus on this ;-)

I don't know anything about SESAC. In Germany there is only one PRO (and they're our MRO as well) who have a very simple and straightforward method assessing you: you have to have songs 'out there'. Otherwise there would be no royalties, hence no use to be member of a PRO. Their absolute minimum is three songs that are being performed regularly, or are on a CD, or are being played on the radio. That's actually a rather low 'hurdle' as it probably wouldn't cover your membership fees.

Cheers,
Bernd


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Vie Getz, Bernd

Starting to pick up on the live shows. I appreciate the advice.

Danke Shoen


Write on, Man,
Michael W. Brown, f.k.a. "bluesriff"

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I'm in the UK, and the process in which SESAC accepts affiliates seems to be a little different here. The UK rep lad is very nice. I sent him a link to some of my work and had a little talk with him over the phone. It was not much of an interview. The tone was friendly and made me feel very comfortable.

Anyway, the biggest pain to me was paperwork, as I needed to have a US tax number (ITIN).

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Regarding "live" performances... I would imagine only "live" performances of original songs would be covered. Then you'd have to register your sets of original material with SESAC. Anyone know?

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So how do us mere mortals get in contact with the big guys at SESAC? Who do we need to be friends with in order to get the ball moving?

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Okay, I'll bite. Actually it is your PRO (SESAC) that is asking YOU, WHAT NEXT?

What are you going to do? How many new upcoming artists are you writing with?
How active are you in your local community?
How many songs are you writing with other people that might have a shot at a record deal?
How many independent cuts are you getting that will make it interesting for THEM to do anything?
How many trips a year are you prepared to make to Nashville, LA, New York, to build relationships?
How many conferences/showcases/industry events, are you making this year? Your competition does that, now your turn.

You see, everyone has the exact WRONG idea about what PRO's, publishers, labels do. They expect there to be some form of "good cut fairy" that floats down and annoints your songs. NOPE.

They are a COLLECTION AGENCY. When you have multiple cuts going on, multiple relationships, tons of activity in multiple areas, they will collect money that your songs earn.
They are not going to make you appointments, pitch your songs, build your catelogue or build your relationships.

Actually most meetings with ASCAP, BMI, SESAC, all begin with them asking "WHAT DO YOU WANT FROM US?"

You've gotten in the door. Now you have to do market research, you have to get in on ground floors, you have to create your own niche, marketplace and motivate other people to do things for you. If they see a lot of promise, movement on your part, working with people THEY know and respect, they will help you more. Until then, you will be like pretty much everyone who are members of any of these organizations, numbers in a data base.

You got in the door. Congratulations. Now YOU have to do the actual work. And the door doesn't stay open for long. Out of site and out of mind. Brings up my usual greeting in Nashville:

"Hi, I'm Marc-Alan Barnette. Who did you USED to be with?"

The biggest thing you have to be aware of with joining any PRO are getting run over by the people LEAVING that PRO thinking one of the OTHER ONES will be BETTER THAN THEIRS. They're pretty much all the same.

Go meet your rep face to face. Get into the game and work your butt off all the time. You got through the easy part.

NOW IT GETS HARD.

MAB

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I was going back and reading more of the posts. I try to do that, but a lot of time don't have time to absorb everything. I often just respond to the last few. Am I to understand you are doing more of an "artist thing" than a "writer thing?" The same things apply but it is more directly on you.

How many gigs a year do you play in multiple regions?
How much press, social networking, profile do you have in the music community?
If you 're main music community is AUSTIN, then developing a presence there would be essential.
Each community has it's own etticate, power players, etc. South By Southwest festival is a HUGE deal there so participating in that, meeting people BEHIND the scenes, making contacts, etc. are standard operating procedure.
How many social platforms are you on? The fact that you have Reverbnation and Sound click are good starts. There are others, you should make sure you have a solid social platform and presence.
How many and what quality are VIDEOS that you have on your music. YOU TUBE, TWITTER, AND FACEBOOK are prime movers and shakers in those formats. Make sure people can find you.
How consistent is your fan base? What are the sizes of venues are you performing in?
MOST IMPORTANTLY HOW MANY PEOPLE DO YOU BRING IN TO THE VENUES YOU PERFORM IN?
How many shows are you doing that "register". getting publicity in the "music community?"

If you are thinking in terms of Nashville, again a "PRESENCE" IS REQUIRED. You are known by the company you keep and who you are writing with. So going back to the post above might help you.

Everything in music is a long distant marathon relay. You start something off, carry it as far as you can, then other people fans, supporters, publishers, song pluggers, record labels, producers, etc, .pick up and take it the next stages.

Try to do RESEARCH. Find someone who is doing something close to what you want to do. People in your area or region. Study their web sites. Find their pathway to where they are. Their management, publishers, etc.

Again, the question is misplaced. It is not about what SESAC or anyone can do for you. It is about what YOU can do for THEM.

When you can assess what you can do for them, for venues, for co-writers, for supporters of yours in any and all fashion, the "What's next" question should answer itself.

MAB

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Your stuff should always be on Spotify (they have 100 million subscribers, 50 million paid!) probably Soundcloud and of course the grandaddy iTunes even if you aren't an Apple user....


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As of this date (that I post this post) SESAC is currently not taking on any new Writers/Publishers. I know this as someone asked me to introduce them as they were looking to join SESAC.

There are exceptions. The main exception is: Getting major play on your music (Radio, TV, etc).

SESAC is under new ownership so its probably why they're assessing their members and looking at who they would represent at the current time. I was told to tell said person who asked me "They should check back in a few months."

p.s. (I know this is an old thread) - Dave Rice, I'm not sure what two posts you meant to attribute to me.

p.p.s.
Originally Posted by Brian Austin Whitney
Your stuff should always be on Spotify (they have 80 million subscribers) probably Soundcloud and of course the grandaddy iTunes even if you aren't an Apple user....

Actually Brian, Spotify has already announced breaking 100 million subscribers, over 50 million are now on the paid tier. Aside from that, I do agree, have your music on all the digital services, though I don't really agree about SoundCloud, which is on the verge of death and doesn't pay royalties.

p.p.p.s. MAB is correct, they are a collection service. You have to give any PRO a reason that you need to be a part of them.


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Jo-Dee-Jo-Dee!!!!

Hey Tech head dude! Great to see you! Glad you chimed in here.

I had been hearing things about SESAC not adding new members a while back but really didn't know that for sure. Have had several friends go over there and have the "speech" of "keep doing what your doing and check back with us.." I think ASCAP and BMI are going to follow suit, and only take people who are doing a lot of things. They all have huge data banks but with so many people who have no activity. And as we all know now, it is harder and harder to get activity. So that is probably the shape of things to come.

MAB

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Originally Posted by Marc Barnette
Jo-Dee-Jo-Dee!!!!

Hey Tech head dude! Great to see you! Glad you chimed in here.

I had been hearing things about SESAC not adding new members a while back but really didn't know that for sure. Have had several friends go over there and have the "speech" of "keep doing what your doing and check back with us.." I think ASCAP and BMI are going to follow suit, and only take people who are doing a lot of things. They all have huge data banks but with so many people who have no activity. And as we all know now, it is harder and harder to get activity. So that is probably the shape of things to come.

MAB


I've always felt that they must just want to play the numbers game when dealing with politicians (hey, we have X million members, you better make us happy) plus there's member fees over the years when they collected substantial free money so some people could "play" music industry, which were both smart business moves, but those days are passed and they need to keep up with the times. They're well established with politicians and I have always believed it would mean more if being a member of either actually meant something, ESPECIALLY when it came Publisher members as so many low lifes used the association to impress newbies and make themselve seem more legit when they may never have collected a dime in decades but who have taken advantage of the legitimacy cover to scam newbies in various ways. Time to close up that loophole.

Brian


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Very astute Brian. That is true. Numbers are power.

But SESAC has established itself as a "hands on" organization and they really do try to help. The only thing is that I have seen, is that for their much vaunted reputation for "only taking the best" and "having to be invited in", they have signed some people that I really would question. I know some people that claim SESAC membership that make me want to say, "REALLY?"

The head, Dennis Morgan, is someone else I know, and I have not seen him in a while but will ask him what the state of their organization is next time I see him.

The problem with all three, and those world wide are in trying to monetize FREE. That is the real problem. And when people ask "which is best?" I have to say, they are all about the same actually. Nice people, good organizations, but they don't really know what to tell people much of the time They are collection agencies, and far too many people are really not ready for a PRO. They need more training first. So that is why they push people to organizations like NSAI.

I also tell people when they are wanting an appointment, is the biggest thing you have to watch out for is getting trampled by people LEAVING that organization trying to go to one of the other two. Everyone thinks changing PRO's is going to be some magic formula and one of the others will be instrumental to their career. The reality is that unless you have something that has SALES, gets multi airplay, large placements, tons of downloads and streams, you really have NOTHING to COLLECT.

Wish it wasn't so, but that is pretty much the way it is, I hope Michael can check in and let us know his progress. I wish him well, but doubt that a PRO is going to be the replacement for getting out there and using his own talents and inititive.

MAB

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Originally Posted by Brian Austin Whitney
I've always felt that they must just want to play the numbers game when dealing with politicians (hey, we have X million members, you better make us happy) plus there's member fees over the years when they collected substantial free money so some people could "play" music industry, which were both smart business moves, but those days are passed and they need to keep up with the times. They're well established with politicians and I have always believed it would mean more if being a member of either actually meant something, ESPECIALLY when it came Publisher members as so many low lifes used the association to impress newbies and make themselve seem more legit when they may never have collected a dime in decades but who have taken advantage of the legitimacy cover to scam newbies in various ways. Time to close up that loophole.

Yes there is power in numbers. Unfortunately musician numbers mean nothing if musicians/composers are too lazy to actually take action.

When you say collect free money, are you referring to the PRO that charges people to join it? I know SESAC does not charge a fee to join as a writer or publisher.

I do know that PROs do occasionally provide opportunities to their more prominent members, but you still have to be giving them a reason to give you that opportunity.

JW


Jody Whitesides
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