Quote:
Originally Posted by Carl Kolchak
Okay, now you're talking above my head.
I don't know all of this industry jargon, YP, MP?
All I know is that I can't get a record contract, we cannot get a record contract unless we take those tapes to the record company. And granted, the tapes themselves are a uh um oh, you own them, all right, but the magic that is on those tapes. That f*@#ing heart and soul that we put onto those tapes, that is ours and you don't own that!
Now I need to take that magic and get it over the record company.
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Hi Doc.
Sorry, in my previous post I was quoting a scene from the movie "
Boogie Nights" which I thought, besides being hilarious, helped highlight the issue of mechanical copyright Vs the performance rights and the songwriter's rights.
I probably should have laboured the point, I just figured someone would get it, and no one would dignify it with a response.
So kudos, and hat's off to you for taking the time and effort to respond so earnestly.
I think it's important that we all understand industry jargon such as YP & MP, and I think your expanded reply will help others navigate this potential minefield, not just dimwitted p*rnstars trying to launch a vanity project.
Anyway, check out the scenes, they're pretty funny even out of context:
The Magic on the tapes.
The scene that I quoted from (intercut with an unrelated scene).
With regards to how things work in the U.K. it is more or less the same (I think with regard to PPL / PRS the use of material is more accurately logged than it is in America, due to the systems we have in place. But that's hardly surprising when you consider the U.K. is about the size of 1 American state - it's a more manageable task).
There are 3 main entities in the U.K.
the
Mechanical
Copyright
Protection
Society,
the
Performing
Rights
Society,
and
Phonographic
Performance
Ltd.
MCPS & PRS have partnered up, and effectively become one entity that monitors usage, collects and distributes royalties for the songwriters, publishers and performers (Simon Cowell is infamous for always performing on all of his artists records - usually only doing things like tambourines / hand claps etc - so that he receives a performance royalty from PRS. Pretty shrewd considering the amount of prime-time pre-release advertising any song will get via X-Factor / American Idol, pretty much guarantees huge sales).
PPL issues licenses for broadcast, nightclubs etc, and has some overlap with MCPS.
They have affiliates or equivalents globally, who monitor U.K. artists, and in turn they monitor foreign artists in the U.K.
There is also a new, broader organisation called "U.K. Music", which encompasses MCPS, PRS, PPL, the Musicians Union, and a couple of other organisations related to independent labels and songwriters.
Anyway, thanks again for your insight.
Cheers!