Coalition to SAVE AMERICA'S MUSIC The Coalition to SAVE AMERICA'S MUSIC represents nearly 2 million individual members and about 1,300 companies. The objective of the music industry and our SAVE AMERICA'S MUSIC Coalition is to support the passage of Amendment 1333 (to Senate Bill 1758) in the Senate, and H. R. 5705 in the House -- and we urge Congress to enact them promptly. American Federation of Musicians (AFM), 1500 Broadway, New York, NY 10036, (212) 869-1330 Membership, 300,000, affiliated with the AFL-CIO. Protects the employment rights of professional musicians in all fields in the U.S. and Canada, including collective bargaining agreements. - American Federation of Television & Radio Artists (AFTRA), 1350 Avenue of the Americas, New York, NY 10019, (212) 265-7700 Membership, 55,000. Negotiates and administers collective bargaining agreements for professional performers and broadcasters for live and taped broadcast performances, phonograph recordings, and audio-visual productions. - American Guild of Authors & Composers (AGAC), 40 W. 57th Street, New York, NY 10019, (212) 757-8833 Membership, 4,000. Protects its American songwriter membership through the AGAC Contract in dealings with music publishers. American Society of Composers, Authors & Publishers (ASCAP), 1 Lincoln Plaza New York, NY 10023, (212) 595-3050 Membership, 30,000. Founded in 1914 - to license and collect fees for the rights to public performances of its members' copyrighted musical works, and to distribute such income. Black Music Association (BMA), 1500 Locust Street, Suite 1905, Philadelphia, PA 19102, (215) 545-8600 Membership, 2,000. Includes performers, producers, promoters, and record company executives whose objectives are to promote, perpetuate and preserve black music. Broadcast Music, Inc. (BMI), 320 W. 57th Street, New York, NY 10019, (212) 586-2000 - Affiliates, 68,000. Founded in 1940 to represent writers and publishers, licensing, collecting and distributing fees for their publicly performed musical repertory. - Country Music Association (CMA), P.O. Box 22299 Nashville, TN 37202, (615) 244-2840 Membership, 6,000, including international representation. Trade association dedicated to promoting and preserving country music through such activity as the CMA Awards Show and the Country Music Foundation. Gospel Music Association (GMA), P.O. Box 23201, Nashville, TN 37202, (615) 242-0303 - Service Membership, 2,000, with international representation. organization whose purpose is to represent, promote and spread the word about gospel music, including presentation of the annual DOVE Awards. (more) 2 Music Publishers' Association of the United States (MPA), 130 West 57th Street, New York, NY 10019 Membership, 61. Objectives are to promote the continuing education of music publishers, nationally and internationally, and to foster good relationships with the music trade. Nashville Music Association (NMA), 14 Music Circle East, Nashville, TN 37203, (615) 242-9662 -- Membership, 805 including 95 founding members. Trade association dedicated to represent all forms of music entertainment in Nashville. Nashville Songwriters Association International (NSAI), 25 Music Square West, Nashville, TN 37203, (615) 254-8903 -- -Membership, 2,000. Dedicated to the advancement of musical composition and the protection of member rights, it holds educational seminars and maintains a Hall of Fame. - National Academy of Popular Music (NAPM), 1 Times Square, New York, NY 10036, National Academy of Recording Arts & Sciences (NARAS), 4444 Riverside Dr., Suite 202, Burbank, CA 91505, (213) 843-8233 Membership, 5,000. Involved in the creative process of sound recording. Members, including singers, musicians, songwriters, composers and engineers, vote for and present annual GRAMMY Awards. National Association of Recording Merchandisers (NARM), 1060 Kings Highway North, Cherry Hill, NJ 08034, (609) 795-5555 Membership, 500 retailers, rack-jobbers and independent distributors of sound recordings. Trade association founded in 1957 to protect the interests of the merchandising community and to promote the industry. Associate members include record companies and suppliērs. National Music Council (NMC), 250 W. 54th Street, Suite 300, New York, NY 10019, (212) 265-8132 -- Membership, 1,500,000 in 61 national music organizations. Umbrella organization chartered by Congress to function as an information and coordination service for members that include composers, lyricists, musicians, singers, teachers, publishers, music licensing groups and recording companies. National Music Publishers Association (NMPA), 110 E. 59th Street, New York, NY 10022, (212) 751-1930 Membership, 275 publishers. Trade association representing publishers of American music, including fields of popular, classical, sacred, educational, concert, gospel and country music, collects and administers royalties through the Harry Fox Agency. - Recording Industry Association of America (RIAA), 888 7th Avenue, 9th Floor, New York, NY 10106, (212) 765-4330 Membership, 55 U.S. sound recording companies. Trade association founded in 1952 to work for the mutual interests and betterment of the industry. Activities include Anti-Piracy Intelligence Unit and certification of RIAA Gold/Platinum Records Awards. - SESAC Inc., 10 Columbus Circle, New York, NY 10019, (212) 586-3450 Affiliates, 1,500. Licenses and collects fees for use of works of its 1,000 songwriters and 500 publishers, and actively promotes its membership. Society of Professional Audio Recording Studios (SPARS), 1400 North Crescent Heights, Los Angeles, CA 90046, (213) 656-9467 -- Membership, 100 recording studios, major manufacturers, record companies and producers. Trade association dedicated to excellence through innovation, communication and education. Introduction Like other creative forces in the music industry, Warner Communications Inc. (WCI) has been concerned with the rapid growth in home taping. In the recent past consumers could hear "what they wanted, when they wanted" only by purchasing a record or prerecorded tape. However, the marketing of inexpensive home recording equipment and blank audio tapes (primarily from foreign sources) has provided millions of people with an alternate of way bringing music and other professional entertainment into their homes. This means that by purchasing a tape recorder and blank tapes, a consumer can copy the works of artists, publishers, authors, composers, musicians, producers and recording companies without obtaining their permission or providing them with any compensation at all. While some technological advances in professional sound recording have benefited the industry, we believe that home taping is causing serious harm to the industry including the many people who contribute to, work in, or otherwise participate in the creation, production and distribution of records and prerecorded tapes. At the present time more recorded music is finding its way into more homes than ever before; yet the creative talent is not sharing in this growth. At a time when demographic and market analyses suggest that there should be continued growth in the number of buyers of prerecorded music, there has actually been a decrease in the percent of the U.S. population purchasing records and prerecorded tapes. In marked contrast, the percent of the population engaging in home taping has significantly increased. Given these competing trends, we at WCI felt it important to obtain valid and reliable data on the nature and extent of home taping. As a part of its continuing effort to develop better demographic and other marketing information about the domestic prerecorded music industry, WCI has underwritten the two most thorough, in-depth studies of the industry ever conducted. Unprecedented in scope, these studies have served to disprove many of the myths surrounding the prerecorded music consumer. In addition, they have identified new markets for prerecorded product and have helped to launch the industrywide "Give the Gift of Music" campaign. While our first study was directed primarily at obtaining data concerning the fundamental characteristics of the prerecorded music consumer,' our second study was designed to trace changes in the consumer that had taken place between 1977 and 1980, and to explore many other aspects of the industry.2 One such aspect was home taping. Among other things, we wished to determine how many people tape-record Music and other professional entertainment. Who are these tapers and what do they tape? How much money is spent on blank tapes that are used to record music? What is the market value of the material they record? What are the reasons for taping? To answer these and other questions, WCI dedicated a substantial portion of its 1980 nationwide consumer survey to home taping. This report will describe the results of the home taping study. It will show that during the 1980 survey year, over $600 million worth of blank tape was used by some 39 million people to bring over $2.85 billion worth of music (and other professional entertainment) into their homes. In addition, it will show that the bulk of these people are neither teenagers nor the economically disadvantaged. Instead they are primarily young adults (between 20 and 34 years of age) with high levels of education and family income. It will also show that the most frequent reason they give for taping is "so I don't have to buy it," and the majority of the music copied is taped from borrowed materials or broadcast performances. Were home taping not possible, tapers would be spending hundreds of millions of additional dollars on records and prerecorded tapes. 'M. Kapp and M Fishbein The Prerecorded Music Market An Industry Survey." WCI March, 1978 "M Kapp, S Middlestadt and M Fishbein The Prerecorded Music Market A Consumer Survey-1980 WCI, April, 1981. |