I have created the first version of a bibliography/collection of my favorite and/or essential resources entitled, “Music, Entertainment, Technology & Legal Resources.” My definitions/stretches of meanings and category-creating allow me to squeeze “Business” and “Communication,” significant and stand-alone-worthy fields, into “Technology.” I hope that this listing of thousands of resources will be helpful to others as well.
I am creating a master list of Twitter accounts to follow for students in the classes I am creating. These Twitter accounts are from the eleven (11) categories of Twitter users I follow and from one, two or three of the following fields: Music/Entertainment, Technology, and Intellectual Property. To my way of thinking, selecting and categorizing, MusEnt subsumes “art” & “arts,” Tech subsumes “business” & “communication” and IP subsumes intellectual property & law that interests me. I am trying to keep this master Twitter list at or near one hundred (100) members.
A Compulsory License to Sample Master Recordings is a very good idea. A fair, respectful and business-happy aspect of this license would be that a recording MUST be at least ten (10) years old. That way, the recording has had ample time to be sold in its original form, sales of the original recording have greatly decreased (or stopped), a new version will draw attention to the original version, the public has more art and options, and money will be generated from the rebirth of a 10 year old recording.
I received two (2) identical emails this week from Pinterest. They were very professional, respectful and kindly. Because the emails were in accordance with the Digital Millennium Copyright Act, one shouldn’t expect adjectives such as professional, respectful and kindly but they were. I guess that’s just how Pinterest is – the kinder, gentler hub for copyright infringement. The softer side of federal law enforcement.
Today we turn the tables and illustrate a few recordings released prior to Rick Ross’ Hustlin’ (2006) which also feature the lyric, “Everyday I”m.” Using the soft and breezy music of The Gibson Brothers, gospel music of The Booth Brothers, the cannabis reggae-tinged music of 10 Ft. Ganja Plant and the sexy love stylings of James Ingram we will turn the tables on Rick Ross and illustrate why Rick Ross can be sued for copyright infringement.
Using a minuscule degree of evidence and logic similar to that used to sue LMFAO, it would follow that Rick Ross could initiate three (3) more copyright infringement lawsuits – against Maysa, Jeremy Fisher and Little Big. This post examines these absurd possibilities.
Rick Ross’ lawsuit against LMFAO is ridiculous and one of the most foolish I’ve seen. Welcome to Part 1 of my thoughts. I spoke about this briefly at the Harvard Law School recently. Unsurprisingly, no one voiced support for the Plaintiff in this stupidity.
How do we make music make sense or make music make evidence? What will best convey the message, i.e., make the evidence most effective? What is/are the most important factor(s) in making the message understandable and persuasive to listeners, jury, judge, students and audience?
This is my 100th post and will be the 5th and final post/adventure about the short 3-4-5-8 melody used in music of many composers and songwriters from 1730-2013 (Sebastian Bach to Sebastian Mikael), and the copyright issues surrounding this melodic gesture. In this post I will state my opinion about the matter discussed in previous posts about 3-4-5-8 and provide links to the music of Bach, Badfinger, The Beatles, Toby Keith, Sebastian Mikael, Rodgers & Hammerstein, The Rolling Stones and XTC.
Many songs in addition to “That’s All Right” and “Matchbox” can be traced to Blind Lemon Jefferson who in turn learned many songs from his contemporaries and those who came before him. Authorship, sole authorship and copyright were not relevant to many practitioners, songwriters and composers of many styles of music.