American Society of Composers, Authors and Publishers

Awards[edit]

ASCAP honors its top members in a series of annual awards shows in seven different music categories: pop, rhythm and soul, film and television, Latin, country, Christian, and concert music. Awards are presented through a "vote online" that makes up 50% of the judging criteria. The other 50% came from different music critics where in addition, ASCAP inducts jazz greats to its Jazz Wall of Fame in an annual ceremony held at ASCAP's New York City offices and honors PRS members that license their works through ASCAP at an annual awards gala in London, England.^[27] ASCAP also gives annually the special accolades Vanguard Award, Songwriter of the Year, and Publisher of the Year.


In 1979, to honor composers of concert music (Classical) in the early stages of their careers, ASCAP created The ASCAP Foundation Young Composer Awards^[28] which, upon the death of ASCAP President Morton Gould in 1996, were renamed the ASCAP Foundation Morton Gould Young Composer Awards to honor Gould's lifelong commitment to encouraging young creators as well as his own early development as a composer.^[29]


Beginning in 1986, ASCAP created the Golden Soundtrack Award to honor composers for "outstanding achievements and contributions to the world of film and television music." In 1996, it was renamed the Henry Mancini Award to pay tribute to the late composer's history of achievements in the field.^[30]


ASCAP also bestows the near-annual Deems Taylor Awards to writers and music journalists. Named after the first president of ASCAP, Deems Taylor, they were established in 1967 to honor his memory. The Deems Taylor Award "recognizes books, articles, broadcasts and websites on the subject of music selected for their excellence."^[31]

ASCAP attracted media attention in 1996 when it threatened Girl Scouts of the USA and Boy Scouts of America camps that sang ASCAP's copyrighted works at camps with lawsuits for not paying licensing fees.^[32] These threats were later retracted.^[32] However, it has drawn negative attention for cracking down on licensing fees on other occasions as well, such as when it demanded that open mic events need to pay licensing (even if most or all of the songs are original).^[33]


ASCAP has also been criticized for its extremely non-transparent operations, including the refusal to release attendance records for board members, the notes from board meetings, and the reasoning behind their weighting formulas which determine how much money a song or composition earns for use on television or radio.^[34]


In 2009, an ASCAP rate court case regarding ringtones generated considerable public attention. Critics claimed that ASCAP may seek to hold consumers responsible for a ringtone public performance.^[35] In statements to the press, ASCAP noted the following:


On October 14, 2009, a federal court ruled that "when a ringtone plays on a cellular telephone, even when that occurs in public, the user is exempt from copyright liability, and [the cellular carrier] is not liable either secondarily or directly." The ruling made clear that playing music in public, when done without any commercial purpose, does not infringe copyright. (US v. ASCAP, US District Court, Southern District of New York).^[37]


Further controversies arose involving ASCAP in 2009 and 2010. The organization requested that some websites pay licensing fees on embedded YouTube videos, even though YouTube already pays licensing fees,^[38] and demanded payment from Amazon.com and iTunes for 30-second streaming previews of music tracks,^[39] which traditionally does not require a license, being considered a promotional vehicle for song sales.


In 2009, Mike Masnik, the founder and CEO of Floor64, accused ASCAP of keeping some royalties instead of passing them on to artists. He claimed ASCAP collects royalties from all sizes of live performance on behalf of all the artists it represents but passes on the royalties only to artists whose music is represented in one of "the top 200 grossing US tours of the year." This is true in accordance with ASCAP's membership agreement, which states that top performing writers and publishers receive, "bonus incentives", which are taken from the untraceable revenue brought in by bars, nightclubs, and similarly situated venues.^[40]


In June 2010, ASCAP sent letters to its members soliciting donations to fight entities that support weaker copyright restrictions, such as Public Knowledge, the Electronic Frontier Foundation, and Creative Commons,^[41][42] creating notable controversy as many^[43] argued that these licenses are a form of copyright and offer the artist an extra choice. Lawrence Lessig, a co-founder of Creative Commons, responded stating that they are not aiming to undermine copyright, and invited ASCAP for a public debate.^[44] The offer was turned down by ASCAP's Paul Williams.^[45]


It was reported in April 2020, that songwriters and composers were facing delays in receiving royalties. This was delivered via a memo to hundreds of thousands of members from CEO Elizabeth Matthews, who said the global disruption of the COVID-19 pandemic was to blame. This raised contention as those critical of the announcement wondered why the pandemic at that time would affect payments related to the third quarter of 2019. Further, it was revealed that publishers were still being paid royalties on time.^[46]