Bbc/Equity Television Agreement 2015

Total Page:16

File Type:pdf, Size:1020Kb

Bbc/Equity Television Agreement 2015 BBC/EQUITY TELEVISION AGREEMENT 2015 Revised: 8th October 2015 1 CONTENTS PAGE CONTENTS PAGES 2 - 7 RECITALS 8 GENERAL TERMS 1. Scope, Enforceability and Application of Agreement 8 2. Definitions 8 3. Commencement, Duration and Termination 9 4. Equal Opportunities 9 5. Anti-Bullying and Harassment 9 6. BBC Child Protection Policy and Code of Conduct 10 7. Settlement of Disputes 10 8. Payment and VAT 10 9. Assignment 11 10. Alternative Arrangements or Amendments to this Agreement 11 11. Information for Equity’s Purposes 11 12. Casting Agreement 11 DEFINITIONS 12-18 PART ONE A. TERMS THAT APPLY TO SPECIFIC CATEGORIES OF ARTISTS Section 1 – Actors exercising dramatic skills, puppeteers, dancers and skaters (solo or group) and solo singers appearing in at least one act of an opera or musical 1.1 Weekly Engagement 1.1.1 Minimum Engagement Fee 19 1.1.2 Work Entitlement 19 1.1.2.1 Work Days 1.1.2.2 Hours of Work on Work Days 1.1.3 Additional Fees 20 1.1.3.1 Overtime 1.1.3.2 Supplementary Attendances 1.2 One Day Engagement 1.2.1 Minimum Engagement Fee, Work Entitlement and Overtime 22 1.2.2 Supplementary Attendances 23 1.2.3 Miscellaneous 23 1.3 Voice Only Performances 1.3.1 Minimum Engagement Fee, Work Entitlement and Overtime 24 1.3.2 Supplementary Attendances 24 1.3.3 Miscellaneous 24 Section 2 – Variety Acts 2.1 Minimum Engagement Fees 25 2 2.2 Work Entitlement 2.2.1 Work Days 26 2.2.2 Hours of work 26 On Location In the Studio 2.3 Additional Fees 2.3.1 Overtime 26 2.3.2 Supplementary Attendances 27 Section 3 – Stunt Co-ordinators and Performers 3.1 Minimum Engagement Fees 28 3.2 Work Entitlement 3.2.1 Work Days 28 3.2.2 Hours of Work 28 On Location In the Studio 3.3 Additional Fees 3.3.1 Overtime 29 3.3.2 Supplementary Attendances 29 3.4 Miscellaneous 30 Section 4 – Choreographers and Dancers required to assist choreographers 4.1 Minimum Engagement Fees and Work Entitlement (Work Days) 31 4.2 Work Entitlement (Hours of Work) 31 On Location In the Studio 4.3 Overtime 32 4.4 Miscellaneous 32 B. TERMS THAT APPLY TO ALL ARTISTS 5.1 Periods of Work 33 5.2 Night Work and Early Calls – Additional Payment 33 5.3 Compensation for Leave Not Taken 33 5.4 Expenses 34 5.5 Credits 34 5.6 Equity Pension Scheme 34 5.7 Time of Payment 34 3 5.8 Suspension of Production 34 Suspension of up to 3 consecutive weeks Suspension of more than 3 consecutive weeks 5.9 Engagement Fee Negotiations 35 5.10 Length of Hair 35 PART TWO: TERMS THAT APPLY TO SESSION AND CHORUS SINGERS 6.1 Engagement Fees, Work Entitlement, Rehearsal and Overtime Terms 6.1.1 Basic 5 Hours Session 36 6.1.2 Out-of-Vision Recording Session 37 6.1.3 Weekly Engagement 37 6.1.4 Signature Tune, Identifying Items or National Anthems 38 6.2 Supplementary Attendances 38 6.3 Overdubbing 38 6.4 Expenses 39 PART THREE: RECORDINGS OF PRODUCTIONS ALREADY REHEARSED AND PRODUCED BY THIRD PARTIES INCLUDING BBC PROMOTIONS OR PRODUCTIONS A. ARTISTS - EXCERPTS OF REHEARSALS OR PERFORMANCES 7.1 Excerpt Fees 40 7.2 Location, Travel and Work Entitlement 41 7.3 Agreed Restrictions 41 B. SINGERS – ENTIRE PRODUCTIONS AND EXCERPTS OF REHEARSALS OR PERFORMANCES 8.1 Session and Chorus Singers 42 8.2 London Cathedral Choirs 42 C. BALLET/DANCE, OPERA AND THEATRE – ENTIRE PRODUCTIONS 9.1 Engagement Fees 43 9.2 Work Entitlement 44 9.3 Additional Provisions 44 9.4 Staff Producers 45 D. TELEVISION COMMERCIALS 10.1 Featured Artists – Use of Whole or Part of Television Commercials 45 4 PART FOUR: PROGRAMME AND EXTRACT USES A. PROGRAMMES 11.1 Engagement Fee and Excerpt Fee Uses 46 11.2 Further Uses 11.2.1 BBC Public Service Uses 47 11.2.1.1 BBC One and BBC Two Transmissions 47 (a) Contributors (excluding Walk-Ons, Supporting Artists, Session and Chorus Singers) 47 (b) Session and Chorus Singers 50 11.2.1.2 BBC Three Online and BBC Secondary Channel Use 50 11.2.1.3 Use on Services Other Than BBC One, BBC Two, BBC Three 50 Online and BBC Secondary Channels 11.2.2 Commercial Uses 11.2.2.1 Residual Provisions 50 (a) All programmes and contributions except those listed in (b) - (g) 50 (b) Factual Programmes 51 (c) Non-drama/light entertainment programmes containing 50% or 52 less drama content (d) Voice-only performances – dramatised reading 52 (e) Opening and Closing Sequences 52 (f) Session and Chorus Singers – Signature Tune, Identifying Items 52 or National Anthems (g) Sales to ITV1, Channel 4/S4C and Channel Five 52 (h) Alternative pre-purchase arrangements 53 11.2.2.2 Royalty Provisions 53 (a) All forms of exploitation except those detailed in (b) – (c) 53 (b) Theatric Exhibition 53 (c) Soundtracks – Audio Publishing Rights 54 11.2.2.3 Commercial Uses Covered by Collective Licences 55 11.2.3 Accounting Provisions – Commercial Payments 55 11.2.4 Quit Clause 55 11.2.5 Miscellaneous 56 11.2.5.1 Use of Photographs 11.2.5.2 Unused Recorded Material B. PROGRAMME EXTRACTS 12.1 All Programmes except Compilation Programmes 57 12.2 Extract provisions for Compilation Programmes 59 12.1.1. BBC One and BBC Two 12.1.2. BBC Secondary Channels 5 PART FIVE: TERMS THAT APPLY TO WALK-ONS AND SUPPORTING ARTISTS A. TERMS OF ENGAGEMENT 13.1 Engagement Fees – One Work Day 60 13.2 Additional Fees 13.2.1 Supplementary Attendances 60 13.2.2 Compensation For Leave Not Taken 61 13.2.3 Miscellaneous Payments 61 13.3 Work Entitlement 13.3.1 Work Days 61 13.3.2 Periods of Work 61 13.3.3 Expenses 62 13.3.4 Timing of Payments 62 B. PROGRAMME AND EXTRACT USES 14.1 Programmes 14.1.1 Engagement Fee Uses 63 14.1.2 BBC One and BBC Two Repeat Fees – Walk-Ons 63 14.2 Programme Extracts 14.2.1 BBC One and BBC Two Commissions: All Genres Except Compilation 64 Programmes 14.2.2 BBC One and BBC Two Commissions: Compilation Programmes 64 14.2.3 Commissions For Services Other Than BBC One and BBC Two 64 6 APPENDICES APPENDIX 1: One Day Engagement Fees: One Day Engagement, Series of Single Day 65 Engagements, and Combination of Single Days and Weeks APPENDIX 2: BBC One and BBC Two Repeat Fees: Artists and Singers 66 APPENDIX 3: BBC One and BBC Two Repeats: Definition of Peak, Off-Peak and Daytime 67 APPENDIX 4: BBC One and BBC Two Repeat Fees: Walk-Ons 68 APPENDIX 5: Artists and Singers: BBC Three Online and BBC Secondary Channels – 69 Fees For Further Uses including Next Episode Premieres, Co-commissions APPENDIX 6: Collective Licences: Overview 70 1.1 BBC Public Services 1.1.1 BBC iPlayer: catch-up service 1.1.2 BBC iWonder/BBC Arts Online: Clip Agreement 1.2 Commercial Services 1.2.1 BBC Worldwide: Online Clip Agreement 1.2.2 BBC Store: Additional Terms for BBC In-House Production (Programmes Not Distributed By BBC Worldwide) APPENDIX 7: Additional terms of engagement 71 1. Terms that apply to certain Continuing Drama Series and Commissions for BBC Daytime 1.1 Minimum Engagement Fees, Work Entitlement and Programme Duration for Continuing Drama Series and Commissions for BBC Daytime 1.2 Pobol Y Cwm 1.3 EastEnders – Pension Contributions 2. Contributions Not Intended for Broadcast or Any Form of Exploitation 72 3. BBC Trailers and Idents 4. BBC Taster 73 7 RECITALS THIS AGREEMENT dated 3rd December 2014 is made BETWEEN: (1) British Broadcasting Corporation whose principal office is at Broadcasting House, Portland Place, London W1A 1AA (including the BBC’s Group Companies, the BBC’s assignees and successors in title) (“the BBC”); and (2) British Actors’ Equity, an independent trade union whose registered office is at Guild House, Upper St Martin’s Lane, London WC2H 9EG (“Equity”). The BBC and Equity shall individually be referred to as a “Party” and together “the Parties”. INTRODUCTION: A Equity is a UK Trade Union which represents artists from across the entire spectrum of arts and entertainment. B The BBC is a UK broadcaster and producer which engages Contributors to perform in BBC productions using a standalone contract between the Contributor and the BBC (“Contributor Contract”) which reflects the applicable terms and principles set out in this Agreement. C This Agreement sets out the standard terms, working conditions and scope of rights accepted by the BBC in relation the Contributor Contracts and comes into force on 7th April 2015 and updated and republished on 8th October 2015. GENERAL TERMS 1 Scope, Enforceability and Application of the Agreement 1.1 The General Terms set out the nature, general application, governance and definitions that apply to this Agreement. Parts 1, 2, 3A-C and 5A detail the specific engagement terms in relation to each Contributor or group of Contributors. Part 4 and 5B establishes the rights granted to the BBC in relation to such contributions. 1.2 The Parties intend for this Agreement to be binding in honour but not give rise to any legal right or obligation enforceable by the Parties. 1.3 Nothing in this Agreement limits any statutory rights of the Parties including any rights set out in the Copyright, Designs and Patents Act 1988. 2 Definitions 2.1 Capitalised words shall have the meaning set out in the definitions.
Recommended publications
  • Stream Weavers: the Musicians' Dilemma in Spotify's Pay-To- Play Plan
    Close Academic rigour, journalistic flair Shutterstock Stream weavers: the musicians’ dilemma in Spotify’s pay-to- play plan January 5, 2021 6.11am AEDT Spotify offered the promise that, in the age of digital downloads, all artists would get Authors paid for their music, and some would get paid a lot. Lorde and Billie Eilish showed what was possible. Lorde was just 16 when, in 2012, she uploaded her debut EP to SoundCloud. A few John Hawkins John Hawkins is a Friend of months later, Sean Parker (of Napster and Facebook fame) put her first single — The Conversation. “Royals” — on his popular Spotify Hipster International playlist. The song has sold Senior Lecturer, Canberra School of more than 10 million copies. Politics, Economics and Society, University of Canberra Eilish’s rags-to-riches story is a little murkier. But the approved narrative begins in 2015, when the 13-year-old uploaded “Ocean Eyes” (a song written by her older brother) to SoundCloud. She was “discovered”. Spotify enthusiastically promoted “Ocean Eyes” on its Today’s Top Hits playlist. She is now the youngest artist with a Ben Freyens Associate Professor, University of billion streams to her name, and Spotify’s most-streamed female artist for the past Canberra two years Michael James Walsh Associate Professor, University of Canberra Billie Eilish attends the Academy Awards ceremony at the Dolby Theatre in Los Angeles, February 9 2020. Jordan Strauss/Invision/AP The new hit squad Streaming now accounts for more than half of recorded music revenue. Spotify has about a third of the subscribers paying for music streaming.
    [Show full text]
  • Recording Contract Royalty Rates
    Recording Contract Royalty Rates French grazes infinitesimally. Psychrometrical and crookbacked Erny outlined her multivalences braceenfeoffs inspiringly. or exclude reticently. Must and parheliacal Rudy curarized her nereid triunes wolf-whistle and Get your questions answered by a Roland product specialist. LA for about week of meetings with clear record labels. It is no royalties if they? Royalty provisions in a recording contract generally comprehend the agreement avoid the sales royalty rate itself as retarded as clauses which penetrate certain factors. To collect public performance royalties, you must first register with a Performance Rights Organization. Orchestral is a good example of a hybrid style. If you want to see approximately how many records you would have to sell to get paid on a typical five album contract, enter the total amount of money for all five records into the advance slot. We have been paid royalties before they relate in royalty rate that? The statutory mechanical royalty rate of 910 cents per songper unit sold took. Mechanical royalties are yield to songwriters or publishers. Then subsequently pay royalties whenever songs and royalty rates. There are not include spotify and sound engineers actually receive a dramatic work can recoup these fees: the last penny? Contact us if claim experience and difficulty logging in. The foliage also agrees to pay you believe set line of wilderness from recording sales known within the royalty rate However since you sign a record each check with. Their royalties when they could well, recorded during a rate. Physical and digital royalties. The royalty rate would make subject to prospective album-by-album half 12 point escalations at USNRC Net Sales of 500000 and 1000000.
    [Show full text]
  • Media Release Form
    Media Release Form Subject Details Name: Address: Home No.: Mobile No.: Email: Is the subject under 18 years Yes No of age? If yes, name of parents / guardians: Media Consent I understanding that by signing this consent form I have: Given permission for the subject’s image, video or name to be used only in the promotion of Qld Oztag and/or its individual venues including (but not limited to): o Websites o Posters o Flyers o Banners o Cinema Advertising o You Tube Footage Read and understood the Terms and Conditions contained on the back of this form. Signature: (parent if subject is under 18) Date: Terms and Conditions 1. Agreements and Acknowledgements The subject (or subject’s parent/guardian) agrees and acknowledges that: Qld Oztag may record the subjects image and voice, or photograph the subject for use in promotional material Qld Oztag may incorporate any recorded image or sound, or photograph made by Qld Oztag of the subject Qld Oztag may use the subjects name or any other personal reference in the promotional material. Qld Oztag may alter, adapt, utilise and exploit the recorded images and voice, or photographs in any way it sees fit. The subject (or subject’s parent/guardian) will not have any interest in the promotional material, in the copyright or any other right in the promotional material and, to the extent permissible by law, the subject (or subject’s parents) waives and/or assigns to Qld Oztag all such rights. 2. Release The subject (or subject’s parent/guardian) agrees and acknowledges that the subject participates
    [Show full text]
  • Self Assessment
    How do you know what they know? How do you show what they know? Frederick Burrack How to cite this presentation If you make reference to this version, use the following information: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Retrieved from http://krex.ksu.edu Citation of Unpublished Symposium Citation: Burrack, F. (2006, June). How do you know what they know? How do you show what they know? Paper presented at the 18th Kansas State University Music Symposium, Manhattan, KS. This item was retrieved from the K-State Research Exchange (K-REx), the institutional repository of Kansas State University. K-REx is available at http://krex.ksu.edu How do you know what they know? How do you show what they know? Dr. Frederick Burrack It is my pleasure to share some music making with you. To tie into the topic of this session, consider that the performance you just heard was one of your high school students. Does this performance demonstrate musical knowledge, understanding, and aesthetic sensitivity? In my 25 years of music teaching, it has been my observation that America’s music programs have demonstrate outstanding student development of performance skills through presenting a variety of performance experiences. This statement may or may not accurately reflect the general music component of a school music program, but if it sufficiently prepares students for continuing in music beyond the general classes, it certainly is a part of it. Instruction in a typical music class often focuses the learning objectives on performance skill development and subjectively assessed by the instructor.
    [Show full text]
  • 2021-2024 Independent Theatre Agreement (ITA)
    Independent Theatre Agreement 2021-2024 Material Terms Minimum fees for 2021 shall apply from May 31, 2021 to June 27, 2021 Minimum fees for 2021-2022 shall apply from June 28, 2021 to June 26, 2022 Minimum fees for 2022-2023 shall apply from June 27, 2022 to June 25, 2023 Minimum fees for 2023-2024 shall apply from June 26, 2023 to June 23, 2024 All minimum fees and other monetary amounts 2021 - 2024 are as specified in the 2021-2024 Independent Theatre Agreement Fee Booklet Independent Theatre Agreement Material Terms Table of Contents PREAMBLE 1 (A) Agreement ------------------------------------------------------------------------------------- 1 (B) Purpose ---------------------------------------------------------------------------------------- 1 (C) Equity ------------------------------------------------------------------------------------------- 1 1:00 RECOGNITION OF EQUITY AND THE APPLICATION OF THE AGREEMENT 1 2:00 COMMUNITY ENGAGED ACTIVITY 1 3:00 EQUITY MEMBERSHIP AND AUTHORIZATION 2 3:01 Equity Members in Good Standing ----------------------------------------------------- 2 3:02 Authorization ---------------------------------------------------------------------------------- 2 (A) Equity Member --------------------------------------------------------------------- 2 (B) Non-Member ------------------------------------------------------------------------ 2 3:03 Deductions ------------------------------------------------------------------------------------ 3 (A) Payment of Equity Dues ---------------------------------------------------------
    [Show full text]
  • Djing for Dummies.Pdf
    www.sharexxx.net - free books & magazines TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page i DJing FOR DUMmIES‰ TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page ii TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page iii DJing FOR DUMmIES‰ by John Steventon TEAM LinG 01_032758 ffirs.qxp 11/9/06 1:51 PM Page iv DJing For Dummies® Published by John Wiley & Sons, Ltd The Atrium Southern Gate Chichester West Sussex PO19 8SQ England E-mail (for orders and customer service enquires): [email protected] Visit our Home Page on www.wileyeurope.com Copyright © 2006 by John Wiley & Sons, Ltd, Chichester, West Sussex, England. Published by John Wiley & Sons, Ltd, Chichester, West Sussex. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system or trans- mitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or other- wise, except under the terms of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, W1T 4LP, UK, without the permission in writing of the Publisher. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, England, or emailed to [email protected], or faxed to (44) 1243 770620. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc and/or its affiliates, in the United States and other countries, and may not be used without written permission.
    [Show full text]
  • Written Evidence Submitted by Christian Castle
    Written evidence submitted by Christian Castle November 16, 2020 Digital, Culture, Media and Sport Committee UK Parliament Inquiry on the Economics of Music Streaming Thank you for the opportunity to comment on the economics of music streaming. This comment addresses a number of questions raised by the Committee including a discussion of dominant business models, the impact of algorithms, long term effects of the dominant business models, alternate approaches and specific recommendations for the role I respectfully suggest that government could play in approaching the problem. I am a music lawyer in Austin, Texas and have been actively involved in the traditional music business as a musician and lawyer for many years at companies like A&M Records in Hollywood, Sony Music in New York, and in private practice. I have worked on these policy issues for the digital music business since its inception, which drew me to Silicon Valley in 1998 when I worked with clients such as the original Napster.1 My biography is available on our firm website.2 While I do not address the Committee’s question on piracy directly, I would respectfully say that the solid work of the European Parliament on the Directive on Copyright In the Digital Single Market should be supported in spirit and that the UK has the opportunity to lead the way in building upon that work to protect creators of all categories. For too long the various safe harbors available online have degenerated from well-meaning efforts at encouraging development of the Internet into mere alibis for what would otherwise be massive crimes.
    [Show full text]
  • COVID-19 Side Letter to the 2019-2022 Integrated Media Agreement for the 2020-2021 Season This Agreement Is Entered Into on a No
    DocuSign Envelope ID: AF773762-13A1-4538-9377-9185BFECB55D COVID-19 Side Letter to the 2019-2022 Integrated Media Agreement for the 2020-2021 Season This agreement is entered into on a non-precedent setting basis between the American Federation of Musicians of the United States and Canada, AFL-CIO, CLC (“AFM”) and the Electronic Media Association (“EMA”) on behalf of each of its member Symphony, Opera or Ballet Orchestra Institutions (each of which is referred to herein as the “Employer”) this ___ day of August, 2020, and is intended to enhance flexibility for streaming of content when live performance has been adversely affected by the COVID-19 (Coronavirus) Pandemic. 1. Conditions Due to COVID-19. Government action has made it impossible for the Employer to hold regularly scheduled live performances with a full-capacity audience physically present. In this context the Employer plans to stream certain media content in order to maintain connection with patrons, donors and the community. 2. Compensation Tiers. Rights accorded to the Employer pursuant to this agreement are contingent on and will be determined by the Employer’s commitment to maintain compensation and benefits to musicians for the 2020-2021 season expressed as a percentage of compensation paid to musicians prior to the COVID-19 Pandemic, as set forth in the Media Tier Chart below. Percentage of pre-COVID wages will in each case be determined by reference to the following: a. Where some or all of the orchestra’s rostered musicians were guaranteed compensation on a season basis (whether paid on a salary or per service basis) pursuant to the Collective Bargaining Agreement in effect on March 1, 2020, compensation paid to every such musician for the 2020-2021 season must be equal to or greater than the applicable percentage of base scale wages (salary or per service) that would have been paid in the 2019-2020 season to that musician, but for any modification or interruption in compensation due to the COVID-19 pandemic.
    [Show full text]
  • African American Radio, WVON, and the Struggle for Civil Rights in Chicago
    Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The Voice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago Jennifer Searcy Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the African American Studies Commons Recommended Citation Searcy, Jennifer, "The Voice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago" (2012). Dissertations. 688. https://ecommons.luc.edu/luc_diss/688 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Jennifer Searcy LOYOLA UNIVERSITY CHICAGO THE VOICE OF THE NEGRO: AFRICAN AMERICAN RADIO, WVON, AND THE STRUGGLE FOR CIVIL RIGHTS IN CHICAGO A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN AMERICAN HISTORY/PUBLIC HISTORY BY JENNIFER SEARCY CHICAGO, ILLINOIS AUGUST 2013 Copyright by Jennifer Searcy, 2013 All rights reserved. ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation committee for their feedback throughout the research and writing of this dissertation. As the chair, Dr. Christopher Manning provided critical insights and commentary which I hope has not only made me a better historian, but a better writer as well. As readers, Dr. Lewis Erenberg and Dr.
    [Show full text]
  • Hibbing Public Library Bob Dylan Collection
    Bob Dylan Collection at the Hibbing Public Library 12'' LPs • 4 Songs From "Renaldo And Clara" A Film By Bob Dylan. Columbia, 1978. (Demonstration--not for sale.) • Best of Bob's Bootlegs. Also includes 4 interviews with Dylan. Double Cross, 197?. • Biograph. Five record deluxe edition. Columbia, 1985. • Bob Dylan: Historical Archives, volume 1. Made in Italy by Go International, 1961, 1962. • Bob Dylan London Interview, July 1981. Columbia, 1981. (Demonstration --not for sale.) • Bob Dylan: the Little White Wonder, volume 3. Buhay Records, 1973. • Down in the Groove. Columbia, 1988. • Dylan & the Dead. Columbia, 1989. (Recorded live, July 1987.) • Empire Burlesque. Columbia, 1985. • Folk Jamboree. Columbia Limited Edition, 196?. • Good As I Been To You. England, Columbia, 1992. (Rare import.) • Got My Mind Made Up; Brownsville Girl. Columbia, 1986. (Demonstration--not for sale.) • Great White Wonder. A Different Kind of Music and Media Festival. Future Tense Productions, 1984. (unmarked recordings parts 1 and 2) • Great White Wonder II. 1969? (All disc labels blank.) • Hearts Of Fire. Original motion picture soundtrack. Columbia, 1987. • Historical Archives, Vol. 1. Italy, Go International, 199?. (Tracks 1-6 recorded at the Gaslight Club, NY, Sept. 6, 1961. Tracks 7-8 recorded at the Finjan Club, Montreal, July 2, 1962.) • Infidels. Columbia, 1983. • Knocked Out Loaded. Columbia, 1986. • Life Sentence. Germany, Ruthless Rhymes, Ltd., 1978? (Recorded June 2, 1978 at the Universal Amphitheater in Los Angeles.) • Little White Wonder, Volume 3. Milan, Italy, Buhay, 1973. (Songs performed by the composer and recorded in Italy.) • London Interview - July 1981. Columbia, 1981. (For promotion only. Recorded at the White House Hotel, London, England, July 2, 1981.
    [Show full text]
  • GRANDTHEATRE 6I~~I~
    GRANDTHEATRE 6i~~i~ COLLECTIVE AGREEMENT 2018- 2023 This Agreement made By and Between: Grand Theatre, of the city of London, County of Middlesex, party of the First Part, hereinafter referred to as the "Theatre", an The International Alliance of Theatrical Stage Employees and Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories, and Canada, London, St. Thomas, and Samia, Local #105, Party of the Second Part, hereinafter referred to as the "Union". Witnesseth: GRAND THEATRE I 11.A.T.S.E. LOCAL 1,05- 201 1 8-2023 COLLECTIVE AGREEMENT Table of Contents ARTICLE ONE EXTRINSIC COMMITMENTS ..... .. .............. ....... ......... .... ...... ............. 4 ARTICLE TWO OBLIGATIONS ............................ ... .......... ............. ................. ............ 4 ARTICLE THREE JURISDICTION .... ............. ...... ......... ....... ................. ....... ...... ... .... ... 4 3.1 Departments .. ... ....... ~ .. .. ............. ......................................... ............................................ 4 3.2 Equipment ......................................................................................................................... 5 3.3 I.A.T.S.E. Local 105 Emblem .. ........................................................... ........................... ....... 6 3.4 Transfer Productions ------·-- ---•--- -, ·-· ·· ··--· .. ··-·· .. -- -··-- · ... -............ ................ .. ......................... 6 3.5 Touring Productions ........ ............ ...... .. ... ...........
    [Show full text]
  • Rolla, Missouri Promotional Recording Collection (R0118)
    Rolla, Missouri Promotional Recording Collection (R0118) Collection Number: R0118 Collection Title: Rolla, Missouri Promotional Recording Collection Dates: 1980 Creator: American Bank of Rolla Abstract: The Rolla, Missouri Promotional Recording Collection contains a promotional phonograph recording entitled, “The Good Life Is Here In Rolla, Missouri.” It was recorded by the band Sinkin’ Creek, and produced on a 45 rpm phonodisc by the American Bank of Rolla. Collection Size: 0.01 cubic foot (1 45 rpm phonodisc, 1 CD) Language: Collection materials are in English. Repository: The State Historical Society of Missouri Restrictions on Access: Collection is open for research. This collection is available at The State Historical Society of Missouri Research Center-Rolla. If you would like more information, please contact us at [email protected]. Collections may be viewed at any research center. Restrictions on Use: Materials in this collection may be protected by copyrights and other rights. See Rights & Reproductions on the Society’s website for more information about reproductions and permission to publish. Preferred Citation: [Specific item; box number; folder number] Rolla, Missouri Promotional Recording Collection (R0118); The State Historical Society of Missouri Research Center-Rolla [after first mention may be abbreviated to SHSMO-Rolla]. Donor Information: The collection was donated to the University of Missouri by the Missouri University of Science and Technology Library on November 25, 1980 (Accession No. RA0056). Processed by: Processed by John F. Bradbury, July 28, 1982. Revised by Kathleen Seale, April 27, 2020. Historical Note: (R0118) Rolla, Missouri Promotional Recording Collection Page 2 Rolla, Missouri was established in 1861 as the county seat of Phelps County.
    [Show full text]