There is certainly non-verified evidence to point to the fact that our very own PRO’s are using this windfall in various “other ways” than to pay out streaming royalties 1:1 to it’s writers.
As cable and network royalties begin to fall further, it will be interesting to see how they start to squirm. Right now, I think they see it as a windfall that writers/publishers are not used to getting – so there is not so much scrutiny. But as things shift more over, there’s going to be a freaking riot going on….
My PRO talks go something like this :
Me : Hi – this is LAWriter. Can I talk with my account rep?
Them (receptionist) : “Oh, I’m sorry (not really), we’re prepping for a big writers seminar today.” Or fill in the blank with any one of their BS functions.
Me : OK. Thanks. I’ll call back later.
After 2-3 times…..I might get lucky and actually get past the receptionist to an actual human being that I can talk with.
Me : “Hi – this is LAWriter – just in case you’re not familiar with my account, I write for abc, def, ghi, jkl, mnnop, and a host of others. My statement has become quite long, and I’m hitting all the usual outlets – foreign, domestic, radio, youtube, streaming, etc.
Them : “Wow, that’s an impressive catalog”. Congrats!
Me : Well….thanks, appreciated – but that’s not really why I called. Can you explain why I’m adding exponentially more content each quarter, but my royalties are ALWAYS capped around $xx k per quarter? Give or take 5-10%?
Them : “We pro-rate payments based on the Neilson ratings”.
Me : Yes, I’m aware of that, But I’ve added 50% more shows, and my payment went down 8%. Also how does Neilson apply to Streaming shows? Streaming is taking 60% of my statement now, and paying out only 1.5% of my total payment. How is that right?
Them : “Well, facts are facts – you made 8% less”. That’s just how it is.
Me: Yes, but WHY? With 50% more shows, shouldn’t I be making more?
Them : “That’s not how it works”.
Me : Really? I add more content, but make less? Can you explain how it works then?
Them : “No, it’s too complicated, and it is proprietary, and we can’t divulge that”.
Me : So you can’t tell me how my royalties are calculated?
Them : “No, that’s not what I said. I said it’s proprietary and way too complicated for me to tell you…”
Me : Do you understand it?
Them : (starting to squirm) Um…. (no real answer)
Me : OK. Then can your check my join date and tell me when I can leave?
Them : “Oh….looks like you just missed it. (That’s actually the first thing they check when they get an aggravated composer on the phone) We’re sorry. Why would you want to leave us?”
Me : OK. Nevermind. Maybe I can get answers in another 22 months.
Them : “Well now….”
Me : How about you do less functions, and pay out more fairly, get your attorneys to sign off on some “transparency” issues and figure out how streaming income is changing the face of back end income – FOR THE WORSE. I’m tired of all the invitations to party with you and the beautiful folks, meanwhile, my royalties are stagnant while you post record earnings ever year, and give no accounting.
Them : “Now LA, you’re just being argumentative. We’ve been through this….”
Me : Yeah, I guess you’re right. Let me put a reminder on my iPhone to call in and cancel my BMI membership in 22 months. Bye.
The above conversations have played out pretty similar every time I’ve tried to reach out for verifiable stats, facts or reasons as to why statements are wonky.
BMI seems to have forgotten that they work for ME. And you. And the rest of the creative music community. They have their own agenda, and it has nothing to do with fairness of pay. They pay as fairly as they can get away with, meanwhile shifting monies into various other venue’s to make keep other big name parties happy and staying with BMI.
Me? I’m not jaded. LOL That’s my thoughts on it anyway.