ASCAP Announces New Membership Group Structure

Film Music Magazine • December 23, 2008

Randall Grimmett, ASCAP SVP Membership Group, has announced a new structure within the Domestic Membership Group that will deliver enhanced service to meet the evolving needs of ASCAP members.

Nicole George is named AVP, Membership Business Affairs and will, in addition, run the ASCAP New York Membership office. Nicole joins ASCAP from the Zomba Label Group and brings more than 7 years of entertainment legal experience. Adrienne Muhammad has been named Associate Director in ASCAP’s Atlanta Membership Office. Adrienne comes from Compound Entertainment LLC where she served as GM and worked closely with Ne-Yo and producers Chuck Harmony and The Heavyweights. In Los Angeles, Dede Burns joins as Manager of Media Analytics from Warner/Chappell Music.

Promotions include: Cindy Braun has been promoted to AVP, Membership Administration in Los Angeles; Jay Sloan, Jennifer Knoepfle and Gabriela Gonzalez to Senior Director of Membership in Los Angeles; Ana Rosa Santiago to Senior Director of Membership in Puerto Rico; and Walter Jones to Associate Director of Membership in New York. Jeff Jernigan and Jennifer Harmon have been promoted to Film/TV Reps, and Alisha Davis has been promoted to Membership Coordinator in ASCAP’s Los Angeles office. Sean O’Malley has assumed the role of Director of Strategic Services for the Membership Department. Lisa Phuaphes will be transferring from Los Angeles to ASCAP Atlanta and Loretta Muñoz will be transferring from New York to ASCAP Los Angeles.

The new Domestic Membership structure, led by Grimmett, will report directly to ASCAP CEO John LoFrumento. Also reporting to LoFrumento are SVP Nashville Membership, Connie Bradley and VP Symphonic and Concert Music, Frances Richard.


By Tim Moyer on December 23rd, 2008 at 6:03 pm

Congrats everyone for the promotions!
The new Group Structure:”will deliver enhanced service to meet the evolving needs of ASCAP members.”

Will we see more poling? It would be so great to have the small guy’s music be poled sometime.

Every once in a great time, I hear one of my songs playing on an NPR station or in a restaurant, but never seems to be during a poling period.

I won’t give up hope!

Best to you all and have a great Holiday Season!
Member since 1997
Tim Moyer

By Wenda Zonnefeld on December 26th, 2008 at 5:37 pm

I’m with you Tim! I am a BMI member and have had the same experience. The technology to poll more effeciently has been available for a very long time (in computer years it’s been centuries!) I hope some day I could help make a difference with this.

Happy Holidays!

By Mark Northam on December 27th, 2008 at 2:30 pm

Great points – problem is, the networks already pay for ALL music used under their blanket licenses with ASCAP and BMI, yet only a portion of music is paid – the music that shows up in their surveys. Yes, the technology to track music better has been around for a long time, but by deploying it, the societies would dilute the current payout significantly, since the same amount of money would have to be divided up by many more people due to the increased number of identified works performed.

Bottom line: the existing big earners at the societies have a huge interest in NOT deploying this technology so they can keep on getting money that should be paid to others whose performances are not being identified by the current systems. These big earners, whose checks are now artificially inflated for this reason, will fight tooth and nail to make sure their checks “don’t go down”. Sadly, they’ve managed to keep great technology like digital watermarking, which could identify upwards of 100% of the music performed, from being used by the societies for years now. And these big earners are the same people who elect the current board of directors at ASCAP.

We need directors elected at ASCAP who aren’t afraid to implement new technology that might rock the boat a bit in terms of the current overpaid high earners. We need directors who have some ethics and believe that the right thing is to make sure that as many performances as possible are paid, not making sure that the currently overpaid high earners keep their money!

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