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The article offers tips for companies that are new to the acquiring industry and are looking over their first sales agent agreement. The provisions to be included in the document are examined. They include rights of first refusal, non-exclusivity, fee control, right to all revenue, protection for residuals, and prevailing party attorneys' fees.

The article offers suggestions for sales agents in the acquiring industry. The author suggests that the easiest way to start is to work as an unregistered sales agent because there are no particular requirements, and a person doesn't have to make any particular financial commitments. The author categorizes agent programs into two broad group, in which the first type provides perks but typically offers less in the way of residuals.

The article presents the views of Jill Miller, a partner in the law firm of Jaffe, Rait, Heuer & Weiss PC, on how legal help can ensure that independent sales organizations (ISOs) and agents have signed contracts that protect their rights. Miller insists that contractual provisions by ISOs could introduce liability under certain conditions, perhaps in cases of fraud or misconduct.

The article offers tips for working with the banking industry. The easiest way to start out is to work as an unregistered sales agent. Agents may lose their share of the fees merchants pay which further reduces the compensation to about half of a program without upfront payments. Some agents register with Visa and MasterCard by paying a fee and filling out some documents.

In this article, the author's views are presented related to the proposal of Apple Computer Inc. regarding the fixing of price of e-books by publishers of the books. She discusses the issue of setting new standards related to royalties. She mentions that the standards seem to be figuring royalties on net revenues.

The article discusses the impact of original equipment manufacturer (OEM) schemes on the residual values in the airline industry. It mentions that the OEM models should include power-by-the-hour agreements (PBTH). It mentions that OEMs will collect, market share for narrow-body aircraft engines and spare part provision.

The article reports that residual income advance provider ISO Advance has unveiled a residual cash advance program for independent sales organizations (ISO) and agents.

The article offers suggestions for residual payments of sales agents when doing transaction services with merchant. It says that for new agents, combinations of immediate gratification of upfront bonus and delayed residual payments offer benefits. It mentions decision making requires consideration of immediate financial needs and long-term goals. Priority Payment Systems PDX president Michael Hass suggests careful selection of compensation as this has large impact on long-term income.

The article reports on the statement of Irvine, California-based lawyer Paul A. Rianda regarding legal precautions for protection of salespeople's residuals.

The article reports that motion picture director Stanley Brooks is liquidating his companies after American Federation of Television and Radio Artists (AFTRA) refused his settlement offer for outstanding residuals on the television series "Sordid Lives." It investigates how Brooks' company Once Upon a Time Films distributes proceeds, available to creditors. It informs that AFTRA members could not trust Brooks' offer to pay 500,000 dollars to settle 1.5 million dollars in outstanding residuals.

In this article the author investigates into the unclaimed residuals and royalties with the actor unions in U.S. entertainment industry. He mentions his experience of receiving his father's unclaimed money with Screen Actors Guild. Also mentioned are the details of unclaimed residuals and royalties with several actor unions including Screen Actors Guild,Writers Guild of America, and American Federation of Musicians

The article discusses the difficulties for independent sales organizations' (ISOs) novice and seasoned sales agents in determining their residual income. It is stated that revenue for the ISO and sales agent is represented by residuals. Ryan O'Connor, president and chief executive officer (CEO) at Velocity Payments LLC, agrees on the point that close attention should be paid by agents to the payment details.

The author discusses problems with distributing royalty residuals to music artists because of insufficient identifying data collected by Sound Exchange, the nonprofit organization tapped by the U.S. Congress to distribute royalties for satellite radio and Internet music streams. Details of the registration process for artists and copyright holders in order to receive payment from Sound Exchange are discussed.

The article focuses on the 59% increase in the third-quarter (Q3) profit of Dollar Thrifty Automotive Group Inc. for 2009 despite the 12% drop in their revenue. Chief executive officer (CEO) Scott Thompson states that the profit increase was brought by maximization of profit and cash flow as well as improvement in residual values. Thompson further asserts that they are planning to sell shares of common stock to increase their cash flow.

The article presents questions and answers related to performing arts including one on residuals for actors in nonunion movies and another about a girl who does not cooperate with others in a networking group of actors.

The article focuses on the statement of Duncan Ward, BCA UK business development manager, commercial vehicles and auctioneer regarding the need for vendors to be confident in recovering residual values (RVs) in Great Britain. Duncan says that companies need to be brave and more optimistic in their RVs, if they want to take advantage of the van market. Ward suggests for companies to negotiate favourable contract extensions with their customers.

The article discusses how music recognition technology could help improve the accounting of broadcast royalties. The two largest performing rights societies in the U.S., Broadcast Music, Inc. (BMI) and the American Society of Composers, Authors and Publishers (ASCAP) have installed automated listening stations to monitor over 100 broadcast and cable channels, allowing for a more accurate accounting of song usage. Executives comment on how the system will affect performing rights statements. INSET: TOUCH ME, I'M SLICK.

The article looks at direct-response television shops. The success of pitchmen Anthony Sullivan and Billy Mays are discussed. Television advertisements for products ordered over the phone or on the Internet are viewed as a potentially profitable venture during times of economic downturn. The author notes that many pitchmen demand royalties to appear in commercials.

The article presents information on opposition to an October 2, 2008 decision by the Copyright Royalty Board (CRB) regarding fee rates for late payment of mechanical royalties by record companies to songwriters. The Recording Industry Association of America (RIAA) is appealing the CRB's inclusion of a 1.5% penalty on late mechanical royalties payments, saying the royalty splits are sometimes unresolved at the time of release. Issues regarding the CRB's 24-cent for mastertones are also explained.

The article focuses on protection of residual payments in processor contracts by independent sales organizations (ISO). Residuals are monthly payments agents receive, typically from credit and debit card processing and products as gift cards and Automated Teller Machines programs. According to Jill Miller, counselor with a law firm, Jaffe Raitt Heuer & Weiss PC, ISOs need to ensure that residuals never stop at any time.

The article presents the author's views on a six-month commercial strike in 2000 over residuals. He opines that the strike affected the Screen Actors Guild (SAG) members who lost almost $100 million in the strike. He states that the decision by advertisers' Joint Policy Committee (JPC) to provide $2,575 flat rate for unlimited use of network commercials, was not only unfair to the actors but also to smaller companies.

The author discusses the Creative Industries in Transition series of symposia which were sponsored by BMI and the George Washington University Law School in order to address questions related to copyright paradigms in the 21st century. He notes that the impact of the internet on intellectual property has been dealt with in a reactive way by government and industry, and argues that a more proactive approach would be wiser.

The article focuses on the filing of an arbitration claim of the Writers Guild of America (WGA) which was asserted as misleading by the Alliance of Motion Picture and Television Producers. It states that WGA claims that studios in the U.S. have failed to pay on new-media residuals to its members. WGA also claims that there are missing payments which include streaming media and reuse of work for programs sold as electronic downloads or Electronic Sell-Through.

The author reflects on the plan of the Screen Actors Guild (SAG) to pull off a strike. SAG president Alan Rosenberg said it will seek a strike authorization vote among members because the negotiations between the union and the Alliance of Motion Picture & Television Producers (AMPTP) have failed. It was noted that new-media residuals that pushed the Writers Guild of America (WGA) to a strike in 2007 is the same that plague the SAG. The author proposes that a one-year cooling-off period be observed by SAG and AMPTP.

The article offers information on the new contract between the Writers Guild of America (WGA) and the Alliance of Motion Picture and Television Producers (AMPTP). The WGA has filed an arbitration on November 19, 2008 against the AMPTP. It has said that the producers have failed to comply with the contract and are not paying residuals for writers' work that is reused on new media.The AMPTP has said that the producers are implementing the terms of the agreement with the WGA.

The article focuses on residuals and discusses how they are calculated. In the context of Screen Actors Guild television programs and films, the term residuals refers to the money actors receive when a production is reused. For work on a film, residuals are due if the movie appears on video or DVD , basic cable, and free or pay television. For work on a television show, residuals are due if a show starts reruns on the same network or is released to video or DVD, pay television, or basic cable.

The article provides quotes from actors of the American Federation of Television and Radio Artists (AFTRA) regarding the prime time contract being voted on. Sara Krieger will vote yes, despite encouragement from the national Screen Actors Guild (SAG) to vote no. Loren Lester encourages voting no on the grounds that residual payment is at stake. Beau Weaver feels it is the best deal AFTRA will get and plans to vote yes.

The article discusses the possibility of a Screen Actors Guild (SAG) strike as actors and television producers disagree on the terms of a revised contract. With arguments over issues such as new media residuals, improved DVD residuals, cost-of-living increases, and right of consent on product integration, it is unlikely the two sides will come to an amicable agreement, states SAG president Alan Rosenberg.

The article reports that the Screen Actors Guild (SAG) entered its third week of talks with the Alliance of Motion Picture and Television Producers (AMPTP) on April 28, 2008. Though SAG and the AMPTP remain tightlipped about current obstacles, labor and management sources say that new-media and DVD residuals remain their primary hurdles. SAG leaders have said they aren't looking to strike, but nothing is guaranteed if the guild's contract expires on June 30, 2008.

The article focuses on cautionary measures for the payment of actors' taxes for the year 2008 in the U.S. It suggests to always double check one's W-2s and stubs ensuring that there are no residual payments and further mentions the case of an actor who didn't get any of his film and TV residuals due to same reasons. It insists that one should immediately respond to letters received from any tax agency and must know the taxation rules as it saves a lot of money and future worries.

The author reflects on the claim of Writers Guild of America (WGA) for residuals from new media in the U.S. He mentions that new media represents significant portion for future revenues, as it was found that 70% of Internet users viewed online videos. He also emphasizes that online data supports the demand for residuals from new media. However, he states that the Alliance Motion Picture and Television Producers (AMPTP) worried on the impact of the demand to music, film, and television industry.

The article offers updates on the career of Patric Verrone who was included in the "12 to Watch" list of "TelevisionWeek" in 2007. Verrone, the president of the Writers Guild of America, remain committed to his pledge that he would take a hard line with networks and studios to increase residuals on DVDs and new media. Verrone has been on the front lines of the first writers strike since 1988.

The article comments on the likely impact of the Writers Guild of America's (WGA) strike on the Screen Actors Guild's (SAG) future negotiations pertaining to new media in the U.S. According to the author, payment for Internet-streamed content and new-media content is a key area of contention between WGA members and producers. It is suggested that another issue that actors should pay close attention to in this strike is digital video disc (DVD) residuals.

The article reports on the contract talks of producers and the Writers Guild of America. In connection to this, the Alliance of Motion Picture and Television Producers (AMPTP) has revealed a part of its proposal in revamping guild residuals. The proposal states that such payment to writers and other talent would still be revenue-based but will kick only after specific revenue costs are recouped on television and film projects.

The article discusses some general problems concerning tax return and financial clauses faced by a number of people every day. It has been noted that usually people face problems for not being disciplined enough to maintain a written diary or calendar. They do not remember where they made their money or how much they made and eventually they have to trust that the employer is reporting the truth about their payments and expenses. They tend to miss residuals checks and allow themselves to be under-withheld throughout the year.

The article reports that the entertainment industry union Screen Actors Guild (SAG), scored a victory by securing higher residuals in a new, although tentative for the time being, basic cable animation contract. Nick Counter, president of the Alliance of Motion Picture and Television Producers, said the offer raised overall cable TV residuals about 14 percent. The cable industry has grown by nearly 500 percent since the contract was last renegotiated, in 1992. Cable was a new, uncertain medium when SAG inked its first cable agreement in 1986 for the series "Sanchez of Bel Air." So the demand for hike in residuals is seen as a justified step.

The article focuses on economic challenges facing the motion picture industry in Los Angels County, California, according to a report released by the Los Angeles Economic Development Corp. on November 29, 2005. Challenges include labor union disputes over DVD residual and piracy. The report cites that the industry is expected to grow throughout the year, but will face conflicts after the growth.

Reports on the approval of a deal with game makers by members of the Screen Actors Guild (SAG) that will put actors back to work voicing game characters in the U.S. in 2005. Percentage of an increase in minimum pay that is included in the deal; Views of SAG chief negotiator Sallie Weaver on the difficulty of SAG members in winning in the area of residuals.

Reveals that the Screen Actors Guild (SAG) and the American Federation of Television & Radio Artists broke off contract talks with videogame producers after the two sides could not reach an agreement on the actors' residuals. Number of videogames that were sold which features the actors' voice; Percentage in session fees given by the publishers to the actors; Statement issued by SAG President Melissa Gilbert.

Reports on the agreement signed by the Screen Actors Guild and the American Federation of Television and Radio Artists with the Alliance of Motion Picture and Television Producers. Reason behind the decision of the guilds to give up a new formula for DVD residuals in favor of enhanced health care; Overview of the current DVD revenue formula; Duration of the tentative actors' agreement.

Presents an update on the dispute concerning the issues of the DVD residuals formula in the U.S. as of October 2004. Key demand of motion picture writers; Information on the DVD agreement; Percentage of video revenue excluded from the agreement.

The article reports that the Directors Guild of America (DGA) and the Alliance of Motion Picture and Television Producers (AMPTP) have reached a tentative three-year contract deal, with DGA negotiators opting not to rock the boat on digital video disc (DVD) residuals. The existing formula for directors' home video residuals provides 2 percent of the producer employer's net sales equivalent to 100,000 units of a title or when a studio is both producer and distributor for the title, 2 percent of the production unit's take above the minimum threshold.

States that the Screen Actors Guild and the American Foundation of Television and Radio Artists received residuals study data from the Alliance of Motion Picture and Television Producers. Importance of the data; How Fox television network pays residuals; Information on the review of the data.

Reports on the increase in residuals of the Writers Guild of America in 1999. Percent increase in residuals; Total residuals in 1999; Amount of residuals from United States television (TV) shows aired on free foreign TV; Information on the complaint of the guild about the underpayment of residuals from basic cable; Other complaints of the guild.