"Actually it's the production's headache, and the goto person is the music supervisor. It's their job to clear things properly. If something comes back saying it wasn't licensed correctly... It's not the PROs job to figure out if something is licensed properly - where did that idea come from?"

When you're talking PRO royalties it is the PRO's responsibility. The improper licensing issue can happen whether it be an exclusive or non-exclusive library. Again, it depends on the integrity of the library. You seem to think the non-exclusive gang are the only culprits.

"Wow. In addition, there was an earlier clause that said the composer grants this library the right to wave fees to the PROs and determine if they should pay the composer"

Yep, I wouldn't sign that be it a non-exclusive or an exclusive library. Though contractual agreements are another issue.

"I'm not giving you McCarthyism John. I'm merely repeating words that came out the mouths of heads of music at major networks - I was there, it was very clear and it was reiterated"

Being top heads doesn't necessarily equate to being right (or speaking for the majority). Using such power to kill the free market is just plain wrong. Non-exclusive/re-title libraries are just as legitimate as the exclusives (and have a right to exist). I've seen good and bad in both models. BTW, the top heads of the McCarthyism head-hunters weren't right either. Power and money breeds corruption.

"I realize this isn't going to change the minds of people that are dead set on re-titles. But they are bad business"

A matter of opinion. However the non-exclusives and the Internet have opened-up many opportunities for the independents that was never available in the past. And that's a good thing.

We're never going to see eye to eye on this issue Jody. I reckon I'm just more free-market oriented. I believe there's room for both business models. Some exclusionists want to eliminate their competition. The exclusionists weapon of choice - digital fingerprinting.

John smile