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	<title>Hans Erik &#187; Ciarra</title>
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	<description>Stolen, Completely</description>
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		<title>ASCAP, BMI, and SESAC: Understanding Performance Rights Organizations</title>
		<link>http://hanserik.net/2009/12/09/ascap-bmi-and-sesac-understanding-performance-right-organizations/</link>
		<comments>http://hanserik.net/2009/12/09/ascap-bmi-and-sesac-understanding-performance-right-organizations/#comments</comments>
		<pubDate>Thu, 10 Dec 2009 04:35:21 +0000</pubDate>
		<dc:creator>Hans Erik</dc:creator>
				<category><![CDATA[Instructional]]></category>
		<category><![CDATA[Music Industry]]></category>
		<category><![CDATA[american society of composers authors and publishers]]></category>
		<category><![CDATA[artist]]></category>
		<category><![CDATA[ASCAP]]></category>
		<category><![CDATA[ascap pros and cons]]></category>
		<category><![CDATA[BMI]]></category>
		<category><![CDATA[business]]></category>
		<category><![CDATA[can an artist own performing rights]]></category>
		<category><![CDATA[can composers give away their ascap bmi rights]]></category>
		<category><![CDATA[Ciarra]]></category>
		<category><![CDATA[Composers]]></category>
		<category><![CDATA[composers authors]]></category>
		<category><![CDATA[concert halls]]></category>
		<category><![CDATA[exact same thing]]></category>
		<category><![CDATA[first performance]]></category>
		<category><![CDATA[half]]></category>
		<category><![CDATA[how sesac makes money]]></category>
		<category><![CDATA[important music]]></category>
		<category><![CDATA[job]]></category>
		<category><![CDATA[license]]></category>
		<category><![CDATA[money]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[music and lyrics]]></category>
		<category><![CDATA[Organization]]></category>
		<category><![CDATA[Organizations]]></category>
		<category><![CDATA[own music]]></category>
		<category><![CDATA[Performance]]></category>
		<category><![CDATA[performance money]]></category>
		<category><![CDATA[performance rights organizations]]></category>
		<category><![CDATA[person]]></category>
		<category><![CDATA[piece of music]]></category>
		<category><![CDATA[place of business]]></category>
		<category><![CDATA[pros and cons of performing rights organizations]]></category>
		<category><![CDATA[public performance]]></category>
		<category><![CDATA[public performances]]></category>
		<category><![CDATA[publisher]]></category>
		<category><![CDATA[radio]]></category>
		<category><![CDATA[radio stations]]></category>
		<category><![CDATA[record business]]></category>
		<category><![CDATA[Rights]]></category>
		<category><![CDATA[rights organization]]></category>
		<category><![CDATA[SESAC]]></category>
		<category><![CDATA[shopping malls]]></category>
		<category><![CDATA[station]]></category>
		<category><![CDATA[United States]]></category>
		<category><![CDATA[writer]]></category>

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		<description><![CDATA[The purpose of a Performance Rights Organization is to figure out who’s music is getting played and then paying that artist, writer and publisher for public performances of their work.  It’s hard to put a price tag or a number on how important music is to the world but long ago, when the record business [...]


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