Play Meter

nEWS
,
occasions with the objective of
reaching a compromise.
The May 13 signing of the agree-
ment was the culmination of these
meetings, and a disappointment to
operators. Said David Dougan of
Indiana Amusement and Music
Operators Association, "The general
attitude among operators is that
nothing was gained. In just two
years (1987) we will be worse off
than we are now."
Added Thomas Wyscaver of
Colorado Coin Industries, "The fee
just keeps going up and it's just too
high . This fee has hurt the jukebox
business."
David Goudeau of the Louisiana
Amusement and Music Operators
Association put it like this. "The
agreement wasn't what we hoped
for. Money talks, contrary to what
anyone believes, and the perform-
ing rights organizations have a lot
more at their disposal than AMOA
does. I guess we better take what we
can get."
And Kem Thom of the Associated
Buyers' Club in Chicago said, "The
AMOA did what it had to. I think we
came out ahead under the circum-
stances ."
The circumstances Tom referred
to were obvious to some operators.
The performing rights societies,
with unlimited resources, could
have held out far longer than
AMOA. And though operators were
disgruntled over the outcome of the
negotiations, all admitted that
AMOA did the best it could.
"ASCAP was prepared to fight until
AMOA went bankrupt," said Gou-
deau. "So what we ended up with
was all AMOA could have done.
Thom added, "Operators will
benefit a lot more in the long run
than if nothing was done. It was a
no-win situation, but we got every-
thing we could."
And Dougan agreed with the
others, saying, "I'm not happy about
the decision, but I'm not critical of
AMOA. It was at a stalemate. I don't
think Aty10A could have done more
against the performing rights soci-
PLAY METEP., June 15, 1985
eties. They have more resources ."
And if a favorable aspect of this
agreement can be found, it is in the
coming together of the two sides.
Said Thom, "They used to look
down on us. But now they realize we
are businessmen and the industry is
not all the gold and glitter it was
reputed to be. I think they now
understand and won't treat us like
nobodies again."
AMOA conceded that the agree-
ment may not be all it hoped for, but
justified it by saying in a newsletter
to members, " While it (the agree-
ment) does not go as far as AMOA
would have liked , the Government
Relations Committee took into
account considerable expense and
uncertainty of a prolonged legisla-
tive battle. The copyright societies
have far greater resources than
AMOA and are prepared to spend
whatever it takes to block legislation
they oppose. As a result of this
agreement ... AMOA will have devel-
oped considerable rapport in
Washington by its willingness to
negotiate."
The leaders of the performing
rights organizations, Hal David of
ASCAP, Edward Cramer of BMI, and
Robert Thompson of SESAC and
president of AMOA John Estridge
issued this joint statement at the
conclusion of the May 13 meeting,
" This agreement opens the door to
cooperation between creators and
copyright owners of music and
jukebox operators-cooperation
that has never existed before."
For the future, jukebox owners,
although receiving a modest rebate
for the next two years, will pay
higher fees after that. The compul-
sory license fee will be no less than
$60 in 1987 and probably in the $65
to $75 range. And in specifying a
registration quota, based on current
registraion figures, operators should
be prepared to pay the higher fee
that year.
•
AAMA elects board of directors
Members of the American Amusement Machine Association
(AAMA) 1985 board of directors elected May 17 during the asso-
ciation 's annual meeting in San Francisco are:
Back row (left-right): Norman Goldstein, Monroe Manufac-
turing and Distributing; Frank Ballouz, Nintendo of America; John
Britz, Bally Manufacturing; Bob Lloyd , Data East, U.S.A.; Paul
Moriarity, Taito America.
Front row (left-right): Joe Dillon, Williams Electronics; Ira
Bettelman , C.A. Robinson ; Joe Robbins, Kitkorp; Shane Breaks,
Atari Games.
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