Richard Flohil wrote:
Two other notes on the above. Erica wrote to tell me that rates for
performing right organizations are set in the US by the LIbrary of Congress
(which I didn't know) - but presumably after submissions from both the
societies and the music users. And Jon wrote me
Tiffany Suiters, in what must be one of the silliest posts I've EVER read
on this list, responded to my long post about the roots of BMI, and the
reasons for its very existence, with the following dumb, DUMB, D-U-M-B
line, her whole message prior to reprinting my long post all over again:
Obviously an ASCAP recruiter
At 02:16 PM 4/3/99 -0500, you wrote:
Since I once worked for damn near a quarter of a century with Canada's
performing right society, I've been following the discussion with interest.
Astonishingly, no one has raised the issue of why on earth there are TWO
Richard says of BMI:
It was not formed because ASCAP was doing a bad job,
or didn't like hillbilly music, or wouldn't give rural blues
songwriters a home - BMI was formed because ASCAP's demands
for license fees were considered too high by the broadcast
industry, and BMI thus became the
