June 9: “Big B” Brian Casserly President’S Message Tom Duff
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Intellectual Property and Entertainment Law Ledger
NEW YORK UNIVERSITY INTELLECTUAL PROPERTY AND ENTERTAINMENT LAW LEDGER VOLUME 1 WINTER 2009 NUMBER 1 MIXED SIGNALS: TAKEDOWN BUT DON’T FILTER? A CASE FOR CONSTRUCTIVE AUTHORIZATION * VICTORIA ELMAN AND CINDY ABRAMSON Scribd, a social publishing website, is being sued for copyright infringement for allowing the uploading of infringing works, and also for using the works themselves to filter for copyrighted work upon receipt of a takedown notice. While Scribd has a possible fair use defense, given the transformative function of the filtering use, Victoria Elman and Cindy Abramson argue that such filtration systems ought not to constitute infringement, as long as the sole purpose is to prevent infringement. American author Elaine Scott has recently filed suit against Scribd, alleging that the social publishing website “shamelessly profits” by encouraging Internet users to illegally share copyrighted books online.1 Scribd enables users to upload a variety of written works much like YouTube enables the uploading of video * Victoria Elman received a B.A. from Columbia University and a J.D. from Benjamin N. Cardozo School of Law in 2009 where she was a Notes Editor of the Cardozo Law Review. She will be joining Goodwin Procter this January as an associate in the New York office. Cindy Abramson is an associate in the Litigation Department in the New York office of Morrison & Foerster LLP. She recieved her J.D. from the Benjamin N. Cardozo School of Law in 2009 where she completed concentrations in Intellectual Property and Litigation and was Senior Notes Editor of the Cardozo Arts & Entertainment Law Journal. The views expressed in this article are those of the authors and do not reflect the official policy or position of Morrison & Foerster, LLP. -
Doubles and Doubling in Tarchetti, Capuana, and De Marchi By
Uncanny Resemblances: Doubles and Doubling in Tarchetti, Capuana, and De Marchi by Christina A. Petraglia A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Italian) At the University of Wisconsin-Madison 2012 Date of oral examination: December 12, 2012 Oral examination committee: Professor Stefania Buccini, Italian Professor Ernesto Livorni (advisor), Italian Professor Grazia Menechella, Italian Professor Mario Ortiz-Robles, English Professor Patrick Rumble, Italian i Table of Contents Introduction – The (Super)natural Double in the Fantastic Fin de Siècle…………………….1 Chapter 1 – Fantastic Phantoms and Gothic Guys: Super-natural Doubles in Iginio Ugo Tarchetti’s Racconti fantastici e Fosca………………………………………………………35 Chapter 2 – Oneiric Others and Pathological (Dis)pleasures: Luigi Capuana’s Clinical Doubles in “Un caso di sonnambulismo,” “Il sogno di un musicista,” and Profumo……………………………………………………………………………………..117 Chapter 3 – “There’s someone in my head and it’s not me:” The Double Inside-out in Emilio De Marchi’s Early Novels…………………..……………………………………………...222 Conclusion – Three’s a Fantastic Crowd……………………...……………………………322 1 The (Super)natural Double in the Fantastic Fin de Siècle: The disintegration of the subject is most often underlined as a predominant trope in Italian literature of the Twentieth Century; the so-called “crisi del Novecento” surfaces in anthologies and literary histories in reference to writers such as Pascoli, D’Annunzio, Pirandello, and Svevo.1 The divided or multifarious identity stretches across the Twentieth Century from Luigi Pirandello’s unforgettable Mattia Pascal / Adriano Meis, to Ignazio Silone’s Pietro Spina / Paolo Spada, to Italo Calvino’s il visconte dimezzato; however, its precursor may be found decades before in such diverse representations of subject fissure and fusion as embodied in Iginio Ugo Tarchetti’s Giorgio, Luigi Capuana’s detective Van-Spengel, and Emilio De Marchi’s Marcello Marcelli. -
Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
RIAA'') Is Pleased to Provide
Before the UNITED STATES COPYRIGHT OFFICE Washington, D.C. In the Matter of: Docket No. 2014-03 Music Licensing Study: Notice and Request for Public Comment COMMENTS OF THE RECORDING INDUSTRY ASSOCIATION OF AMERICA, INC. The Recording Industry Association of America, Inc. ("RIAA'') is pleased to provide these Comments in response to the Copyright Office's Notice oflnquiry ("NOI") in the above- captioned proceeding. See Music Licensing Study: Notice and Request for Public Comment, 79 Fed. Reg. 14,739 (Mar. 17, 2014). RIAA is the trade association that represents the music companies that create, manufacture and/or distribute approximately 85% of all legitimate recorded music produced and sold in the United States. The issues raised in the NOi are critically important to RIAA's members. The musical works they license to include in their releases are an essential part of those releases, and they are major licensees of musical works. They are also copyright owners or distributors of audio-only and audiovisual sound recording releases accounting for the vast majority of music usage. Sound recordings and the musical works incorporated therein are subject to disparate licensing systems, including three completely separate systems just for musical works (i.e., for mechanical, performance and synchronization rights). Unfortunately, while the systems for sound recordings are working reasonably well in many respects, there is an emerging consensus that the systems for licensing musical works are not. Accordingly, the question is not whether change would be desirable, but whether it will be possible to achieve consensus concerning what changes should be made to improve musical work licensing. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
Blueprint for the Arts N Music Letter from the Chancellor
Grades PreK - 12 - PreK Grades For Teaching and Learning in Learning and Teaching For Office of Arts and Special Projects New York City Department of Education 52 Chambers Street, Room 205 New York, New York 10007 Phone: 212.374.0300 Fax: 212.374.5598 Email: [email protected] website: schools.nyc.gov/artseducation New York City Department of Education © 2005 Carmen Fariña, Chancellor Second Edition (2008) Contributors Third Edition (2015) Contributors Dorita Gibson, Senior Deputy Chancellor Phil Weinberg, Deputy Chancellor of Teaching Music Curriculum Development Co-Chairs Music Educators, Music Curriculum Development Co-Chairs New York City Department of Education and Learning Barbara Murray, Director of Music Programs Barbara Murray, Director of Music Anna Commitante, Senior Executive Director, Office of Arts and Special Projects, Donald Christiansen Robert Lamont, Music Consultant Curriculum, Instruction & Professional Learning New York City Department of Education Roberta Feldhusen Paul King, Executive Director, Office of Arts and Shellie Bransford, Music Consultant Janet Grice Special Projects Elizabeth Norman, Director of Education, Elizabeth Guglielmo Music Educators, St. Luke’s Orchestra New York City Department of Education First Edition (2004) Contributors Jaime Jacobs Gregory Pierson, Director of Education, Maria Schwab Eric Dalio Music Curriculum Development Co-Chairs Brooklyn Philharmonic Thomas Toriello Elaine Fauria Nancy Shankman, Director of Music/ George Wanat Ian Kanakaris Deputy Senior Instructional Manager for Arts Education Moishe Weidenfeld Music from the Inside Out Contributors Portia Lagares Thomas Cabaniss, Director of Education, Jerome Korman, Project Director, Music Consultant, New York Philharmonic Office of Arts and Special Projects Cultural and University Community Music Educators, Nancy Shankman, Director of Music, Deputy Senior Dr. -
Download PDF Version
Twitch’s Rockonomics Introduction 3 Part 1: Twitch Distinctions 8 Part 2: Twitch True Fans 18 Part 3: Twitch In Action 27 Closing Remarks 43 About The Author 46 Partners 47 Acknowledgements 48 #twitchrockonomics Live streaming won’t go away when live music returns. This inquiry into Twitch helps us understand how they may co-exist. ‘If you keep the full $100 of each true fan, then you need only 1,000 of them to earn $100,000 per year.’ Kevin Kelly, The Technium, 2008 Kevin Kelly’s 2008 1000 True Fans essay is making something of a comeback, as many artists today are feeling short-changed from their paltry music streaming royalties. In a recent Harvard Business Review article that’s rich in media theory, Li Jin argues that ‘The Creator Economy Needs a Middle Class’. Jin encourages us to rethink media, and Kelly’s essay suggests a remedy, which Twitch is strongly positioned to provide. Twitch offers a unique way for artists to reach fans and earn money. The growing criticism from music industry trade bodies about Twitch’s licensing strategy appears to be based on a misunderstanding of what Twitch is and isn’t That takes us to the threefold objective of this – which is understandable, given that live inquiry. Getting exclusive access to data (and streaming on Twitch is a new paradigm. Key to data scientists) from Twitch, MRC Data and this seachange are Twitch’s roots in the culture ChartMetric has allowed me to: of gaming. You can bring a horse to water, or you (i) establish what makes Twitch distinct; can bring water to the horse. -
João Gilberto
SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
May 2008AAJ-NY.Qxd
NEW YORK May 2008 | No. 73 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com AHMAD JAMAL IT'S MAGIC Vince Giordano • George Garzone • Les Disques Victo • Dizzy’s Club • Event Calendar NEW YORK May is significant in the history of Miles Davis. Not only is the 26th the late trumpeter’s birthday but many of his most enduring works were New York@Night recorded during this month, including the Charlie Parker All-Stars (1948); the 4 Miles Davis-Tadd Dameron Quintet’s run in Paris (1949), most of the Workin’, Steamin’ and Relaxin’ triumvirate by the quintet with John Coltrane (1956), Miles Interview: Vince Giordano Ahead and At Carnegie Hall, both with the Gil Evans Orchestra (1957 and 1961 6 by Michael Hittman respectively); and the bulk of Miles in the Sky (1968). Now in May 2008, another chapter to the Miles Legacy will be written with an ambitious concert at Town Artist Feature: George Garzone Hall May 9th, “Miles From India”. A companion concert to a just-released album 7 by Matthew Miller of the same name, the concert brings together musicians who played with the legend throughout his career as well as a number of classical Indian musicians for Label Spotlight: Les Disques Victo what is billed as a “cross-cultural summit meeting”. Our Encore this month, 8 by Kurt Gottschalk guitarist Pete Cosey, is participating in what is sure to be a monumental event. But, as is typical for New York, the happenings don’t stop happening there. Club Profile: Dizzy’s Club Pianist Ahmad Jamal (Cover) brings his trio to Blue Note in a pre-release by Laurel Gross celebration of his first new album in three years, It’s Magic (Birdology-Dreyfus), due out in June. -
WOODY ALLEN Músico Y Cineasta
JORGE FONTE WOODY ALLEN músico y cineasta Prólogo de Òscar FONT Editorial L L E I D A, 2 0 1 5 ÍNDICE Prólogo .............................................................................................................. 11 Introducción ...................................................................................................... 13 I PARTE El artista ............................................................................................................ 17 El músico .......................................................................................................... 21 Las giras europeas y el documental Wild Man Blues ....................................... 24 Del Michael’s Pub al Café Carlyle ................................................................... 27 Discografía ........................................................................................................ 28 II PARTE Filmografía musical ........................................................................................... 33 TOMA EL DINERO Y CORRE (1969) ........................................................................ 37 BANANAS (1971) .................................................................................................. 41 TODO LO QUE QUISO SABER SOBRE EL SEXO. Y NUNCA SE ATREVIÓ A PREGUNTAR (1972) 45 EL DORMILÓN (1973) ........................................................................................... 51 LA ÚLTIMA NOCHE DE BORIS GRUSHENKO (1975) ................................................. 61 ANNIE HALL (1977)