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NOTE: I first wrote this article in 1993 when I became intrigued with the complexity of the music licensing system, and to help educate those who are affected by ASCAP, BMI and SESAC. I have been tinkering with it ever since trying to keep it more up-to-date, since I want to help shed some light on a complicated situation that has a large impact on musicians, music listeners and public places where music happens. My experience is that musicians, venues and the general public know almost nothing of this system that has a great deal of influence in the music business, and involves nearly a billion dollars annually. These organizations exist by a strange set of legal circumstances, and are very little understood or regulated, yet they have a wide influence and control a lot of money in the modern music industry and in hundreds of thousands of places of business. A number of publications declined to publish this, not wishing to stir up too much trouble. There have been many edits and updates since it was written, and one of these days I hope to seriously research and update it or encourage a professional journalist to dig into it... I welcome your input to update this information if you find something incorrect. My only intent is to explain what I understand to be the way the system works, though my own opinion that we could design a better system no doubt creeps in.
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A number of issues that that need clarifying have arisen since this was written, and could use the services of a skilled journalist or investigator to look into. These include whatever changes have been made by insiders to ASCAP and BMI charters and bylaws, the emergence of SESAC as a larger player in this game, the complex issues of licensing Karaoke, games, podcasts, satellite, cable and internet music, as well as other changes involving the use of internet, television and video in public businesses. To the best of my knowledge, the basic system of licensing is still in place, and the explanation of its details is still accurate, and I would venture a guess that size of the "licensing empires" and the total dollar amounts of licensing money have gone much higher than the old numbers I give here.
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Some ideas to help formulate answers and support this connection can be found in the two following articles in which, authors address the relationship between reading and writing.
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Most of the time, it is difficult to write essays in English for many multilingual students like me, not only because we have to translate Chinese to English, but also because of the different styles of academic writing we learned in China.