Music Business

Unions, Guilds & Industry Trade Organizations (UGITO's)

The Music Telegraph | Text 2018/12/20 [14:01]
Music Business

Unions, Guilds & Industry Trade Organizations (UGITO's)

The Music Telegraph| 입력 : 2018/12/20 [14:01]

 

▲ The Music Producers Guild



 

Unions, Guilds & Industry Trade Organizations (UGITO’s)

 

*Some useful definitions and job descriptions

 

 

Royalties

- Income from commercial music-use

 

 

 

Spin-offs

- Income from secondary earnings, such as:

. Endorsements

. Merchandising

. Stories in magazines

 

 

 

Music Publishers

- Market, promote and encourage the overall productivity of lyricist, composers (of contemporary song melodies), and those who write movie scores and/or concert works. Sometimes this process involves a collaborative effort between 2 or more publishers, who are then, officially referred to as co-publishers (aka split-copyright administrators). Administration, licensing and royalty collection, are all part of the publishing business.

 

 

 

Radio/TV Blanket Fee

- Broadcasters pay an annual blanket license fee, for unlimited commercial music use, to ASCAP/BMI & SESAC. Then fee is based upon a 3 1/2 to 10% wilding scale, according to Ad Income Level. At the $50-70 million level, it’s 10% to each of ASCAP & BMI, plus a smaller % (also), to SESAC.

 

 

 

P.R.O.

- Performance Rights Organizations. They collect Performance royalties for a copyright holder

 

 

 

M.R.O.

- Mechanical Rights Organizations. They collect Mechanical & Synchronization royalties payments due

 

 

 

UNIONS

- Unions primarily utilize their power of collective bargaining, to attain fair pay, premium (holiday) pay, overtime opportunities, health/retirement benefits, plus safe and reasonable working conditions/environment. They also can offer legal guidance and counseling, as well as litigation (court action) representation. In the entertainment industry, unions (and guilds) offer contractual counseling and/or actual “standard” contracts, for members to use. They are very favorable to the performer.

 

- To achieve all of this (and more, if at all feasible), unions and guilds use a variety of technics such as “union-action”, as an imminent threat. Such conduct as: Go-slows, work-to-rule, walkouts, and strikes are common tools. They’re all designed to create enough havoc and/or paralysis to potentially intimidate the opposing side into a state of compliance. However, no victory comes without pain, frustration and loss of income. These union actions can last over substantial periods of time.

 

 

 

GUILDS

- The more modernistic, pragmatic and practical approach favored by Guilds, is solidly based upon the realities of capitalism’s “supply and demand” philosophy. They recon that if you can attract the most talented and success oriented members, they can be marketed and promoted in a very prestigious way. As an elite group of highly capable, much in demand talented individuals, they’re surely worthy of the highest fees and sometimes even semi-celebrity status. Moreover, they ought to be entitled to continuous or repeated compensation from recordings of their work still in use, and bringing profit to others. These repeat fees are called residuals, and can, sin some circumstances, amount to considerable sums of life long income.

 

 

 

INDUSTRY TRADE ORGANIZATIONS

- An Industry Trade Organizations (or Association, or Society) offers a centralized point for the focus of its members’ goals, ambitions, endeavors and desired public image. Some ITO/LTA and/or Societies offer the membership courses, seminars, lectures, and forums (for debate and discussion), while some also offer public conventions or shows, and even televised exposure. This is the case with the National Association of Recording Arts and Sciences (NARAS) and the GRAMMY® Awards programs, the Country Music Association (CAM) and the Country Music Awards programs, and the Gospel Music Association (GMA) and the annual Gospel Awards Ceremony. Still others, like the ASS, sponsor a few of its members to participate in academic and public lectures to a worldwide audience.

 

 

 

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