By Lauren Wise
By Anthony Sandoval
By New Times Staff
By Chris Parker
By Glenn BurnSilver
By Lauren Wise
By Jason P. Woodbury
By Chase Kamp
Publishing may seem like pretty dry stuff, but the failure to understand this side of the business has, time and again, cost artists dearly. Just ask Little Richard or John Fogerty. Copyrights are an asset that will continue to provide dividends for an indefinite period of time. Writers should never give them up, but some still make that mistake. There are also those involved with publishing deals who don't understand the process. The latter category includes a lot of little labels that need to be taught how important it is to pay publishing and not throw the invoice in a stack with the electric bill and other things that can be paid at a later date. Bug has done much to simplify things by taking the legalese out of their concise one-page contracts and by giving labels fill-in-the-blank forms for royalty statements (the company has even sent calculators to some mathematically challenged labels).
Bug actually prides itself on never missing a royalty period and paying its writers every three months for the past 25 years. Fred explains: "What we've instilled in everyone by getting these royalty checks out on schedule is that if you're with Bug, you'll get paid -- although there was one band we signed that had pressed their own records and then got mad at us because we never paid them. We had to explain that if you press up your own record, then you're the record company. For us to send you a check, we'd have to collect the money from you and then send it back to you!"
All of Bug's deals come up for renewal yearly, at which point people are free to leave and take their business elsewhere. Few do. The loyalty of Bug's clients is quite an extraordinary testament to the brothers' stellar reputation. The reason for Fancher's loyalty is easy to understand. "Three years ago, I got totally fucked in a licensing deal, and I was on the verge of losing my house," she explains. "I called them up, and they worked out a fair deal where they'd advance me the money and I could pay it back later. It wasn't a great deal for them. They could've really taken advantage of the situation and hosed me good. So I owe them a lot." Likewise, Alvin remembers when Bug saved him from having to sell off his publishing by advancing him money during a particularly rough patch in his career about 12 years ago. "I've always admired how Dan stood by Del Shannon through all phases of his career -- both high and low," says the former Blaster.
Alvin admits that, unlike Fancher, he knows a few songwriters who will gripe a bit about Bug. He credits those complaints, however, to unrealistic expectations. "Some people will tell me they don't think Bug is pushing their song enough," he explains, "but I have to tell them: 'You're writing songs about Santeria, death and destruction,' y'know? 'I mean, Garth Brooks is never going to cover your songs!'"
Bug has worked with some writers so long that it's now signing up their children as well, working with more than one generation of the Allison (Mose and Amy), Cash (Johnny and Roseanne), and Bramhall (Doyle Jr. and Sr.) clans. Louie Perez of Los Lobos -- who has been with Bug since the early '80s, before the band even had a contract -- feels he's "been very fortunate to work with people who have a homegrown aesthetic. Bug has been like a family to us. I mean, they show up at our kids' birthday parties! A lot of the time in this industry, you have to separate business and friendship, but with Bug, we can operate as business partners and still be friends. I think it's a unique thing. And when they're placing my songs, they always let me know if there's any potential ethical, ideological, or moral issue that I might be opposed to."
Fred explains they've known non-Bug songwriters "who, all of the sudden, see someone's throat getting slit while their song is playing [onscreen]. It's happened. Everyone has their own idea about how their songs should be used. Some don't like their songs in commercials. Others don't like them associated with cigarettes and alcohol. Some have strong political beliefs, and they have every right to make sure that the songs they write don't get used to promote something they don't believe in. And we try to make sure that never happens."
At Bug, protecting artists' rights is almost a crusade. It's a crusade that hasn't lost any of its fervor, even as the company has grown. "What's interesting about all these huge corporate megamergers at the moment is that it's exactly the opposite of where we're going," says Dan. "We're growing, but we're growing with the entrepreneurial spirit. We're still saying, 'Keep your publishing; keep your copyrights.' As a result, if you're chasing something down for Iggy Pop, you feel that satisfaction of 'Hey, I'm doing this for Iggy Pop.'" Interestingly, Iggy has been such a nonmainstream artist over the last three decades, no one except perhaps Dan and Fred could have foreseen his music being used in national TV commercials almost every night of the week. "And Iggy owns those songs. It's not the property of some big corporation. It's not owned by some AOL faceless thing on the Internet."
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