openmikes.org

I personally know of venues that were harassed and threatened. In the realm of litigious actions, it's who can make the biggest threat and of course, back it up, that wins. Most small venues just struggle to get by and want no part of being involved in such actions.

Many, who can invest in the fees, to include offering copyrighted material in their venues, do so. Others choose to close their musical offerings altogether or adopt a strictly original songs approach. You can't fault them for doing what's best for their bottom line.

If you find that one open mic doesn't allow cover songs, you can either adapt, by writing some of your own songs and then use that open mic to feature your original material, or you can migrate to an open mic that does allow cover songs. There are many open mics to choose from. Hey, perhaps you could even host an open mic of your own. Then, you can decide who sings what kind of songs at your event. You'll have the freedom and the power to ban all original songs and only feature cover songs. Then I hope you won't mind a few nasty comments about your covers only open mic being posted here by those who enjoy playing original songs.

If you judge the quality of songwriters so lacking, then show those can't meet your expectations how it's done, by writing better songs and you will become the darling of songwriters everywhere, due to your ability to outshine everyone else.

Anonymous (10/2011)

I'm going to check out this one tonite. AND I offer a bit of factual info to counter JD objections to original music. Yes it is real and yes venues have been fined And I know of at least one that was forced to close under financial pressure. In Seattle music has come to almost a halt at Brads swingside And crossroads open mike and Wayward Coffee House have both reported "harrassment". In Eugene Oregon I know of Tsunami books and more. So please stop your finger pointing and judgements about the qualit of the original music, get your fact straight , and for the sake of your crative. Write a song already!

Katy (2/2011)

You don't think that what the individual artist brings to his/her interpretation of a cover tune is original and unique? I can name a litany of songwriters who would have languished in obscurity were it not for someone with skills performing their material. Say what you will about the ASCAP boogeyman but the fact remains that the vast majority of open mic venues don't seem to have a problem with covers. If this lack of interference is due to the venue paying dues of some sort then I can only assume that it's been cost effective for them to do so. After all, unpaid talent has to be worth something, right? FWIW, I *do* write but unlike a lot of writers, I judge my material by the same harsh standards that I apply to the music I choose to cover. Little of of it passes muster and since I am not prolific a set of my originals would be short and lacking in continuity. In contrast, most of us can recall feeling a palpable groan in the audience when a performer announces "my next song is an original I wrote myself".

JD Blackwell (2/2011)

My favorite open mic. A very open atmosphere as an open mic should be. Great job!

Matthew Alan (2/2009)

Apparently the owner of the venue isn't quite revolutionary enough. While 99.9% of other venues openly embrace musicians (and I emphasize the word "musician")who perform other artist's material, she uses the excuse that ASCAP, RIAA and the Harry Fox Agency are going to sue her into oblivion if any one performs a cover tune under her roof. I think I speak for a vast majority in saying that I'd much rather hear a well crafted cover than a trite, formless "original" (is anything original??). Lame.

JD Blackwell (2/2009)

Speaking not so much as the guy who runs openmikes.org, more as both a songwriter and someone who has seen clubs closed down because of ASCAP lawsuits: you don't have to like the policy. You really don't. But to call it an "excuse", particularly at a time when the RIAA et al are hunting for any income they can get, is just clueless and uninformed. The lawsuits are real, the fines are real, and they're often completely disproportionate to the actual amount of licensed music used at the venue.

Please don't pounce on someone for trying to stay in business.

Paul Roub, Benevolent Dictator of openmikes.org (2/2009)

I was under the assumption that the bar had to be charging a cover or the musician was making money from playing for the ASCAP rules to be in effect.

Damon (3/2009)

Nope, not the case.

Paul Roub, Benevolent Dictator of openmikes.org (3/2009)

Whatever. Being the compassionate capitalist that I am I think I'd take my chances with the other 99.9% and make a buck rather than guaranteeing my demise with "original" performers that are often musically challenged as well as bereft of any literary talent. Perhaps this part of the world is under the music police radar because I've yet to see a club close for such specious reasons in decades of performing.

JD Blackwell (4/2009)

To echo Paul (Roub), this is a problem (if you call it that) that was popping up since before the Internet made it neigh-unto-impossible to track all the uncollected income due artists, publishers, ASCAP, etc, etc. Just do-your-homework and know what would create a problem and what material won't. It isn't lame, it IS reality - - and you might find some more new & rewarding and interesting "stuff" to perform in the process!

*PLUS, if YOU were one of the artist's represented by ASCAP, etc… wouldn't YOU want the money's due you?!?!?

Drew Ferraro (10/2009)

I have played twice at Zippy's Java Lounge, once as a solo act and once with my duo, Blue and Green. In both cases we embraced the challenge to come up with all original or copyright free material. It was lots of fun and we'd do it again. We saw a music venue closed down about 20 years ago because of ASCAP. It's very real.

Volkert (7/2010)

According to Zippy's MySpace page, the material has to be the performer's "original" work. Too bad, I guess Bonnie Raitt wouldn't get to play there either.

JD Blackwell (1/2009)

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