October 2005 NEWSLETTER A n E n t e r t a i n m e n t I n d u s t r y O r g a n i z a t i o n

Music Biz Quiz

Randall Rumage

It’s time again for you to test your music biz knowledge, and see The President’s if all the music-related news you’ve recently read can be recalled on Corner command! The music industry can often be compared to matter…they both consist of particles that are in constant motion. Our business is in Dan Butler a continuous state of flux…whether it be the changing musical trends, the evolution of the record company business model, the use of music Last month’s annual Legal Eagles Update of in new technologies, or the legislative changes and judicial decisions the Law was a lively and informative panel which govern our business practices. So see for yourself if you’re still “in discussion. Topics included: the recent Su- the know”! preme Court decision in Grokster (as described The answers are at the bottom, but don’t be tempted to look by UCLA Professor Neil Netanel); the contro- ahead, as it will spoil the fun, and your CCC newsletter subscription versial record club litigation over mechanical could be revoked! Now on to the test: royalties (brought by panelist Neville Johnson); 1. The “old codgers” of rock and roll are still embraced by today’s Section 115 cha nge s (illum inated by Ron music buyers. All of the new from the artists listed below have Gertz); and the new dispute between Tom recently reached the Top 20 on the Billboard 200 albums chart. Match Waits and Warner Bros. Records over how the artist with the corresponding title: artist royalties should be paid for downloaded mu sic (discussed by both David Altschul and A. Paul McCartney (debuted at #6) Evan Cohen). Special thanks to moderator B. Eric Clapton (debuted at #13) Da vid Hirshland and our expert panelists who C. The Rolling Stones (debuted at #3) kept the a udience glued to th eir sea ts well past D. Bob Dylan (debuted at #16) our norm al running time. One of the few areas in which record la bels i. “No Direction Home: The Soundtrack -- The Bootleg Series Vol. 7” and publishers find their bus ines s on solid ii. “Back Home” ground is in the area of film, TV and video iii. “A Bigger Bang” game licensing. Tonight’s panel will focus on iv. “Chaos And Creation In The Backyard” how innovative labels and publishers are wor- king with studios and producers to promote 2. On January 1, 2006, the U.S. statutory rate will be raised approxi- new artis ts and songs in creative ways that mately 7% (and 6% on the per-minute rates in excess of 5 minutes of enhance entertainment content with music. playing time). What will the new penny rates be? Join me as I modera te a v ery k now ledge able group of panelists, including TV music su- A. $.087 / $.0167 per minute or fraction thereof pervisor Alex Patsavas (“The O.C.” and B. $.09 / $.017 per minute or fraction thereof C. $.091 / $.0175 per minute or fraction thereof “Supernatural”) as well as film music super- D. $.095 / $.018 per minute or fraction thereof visor Julia Michels (“August Rush” and “The Dev il Wears Prada”), label execs Dominic 3. “PCD” is now the commonly used moniker for: Griffin of Hollywood Records and Elena By- ington of Sony/BMG, along w ith CCC board A. Personal Computer Drive member Jonathan Palmer. B. Podcast Delivery Eac h pa nelis t sh ould bring a different per- C. Politically Correct Doctrine spective to our discussion, which we hop e will D. The Pussycat Dolls both engage and enlighten you. 4. Last month’s release of Ba rbra Streisand’s and Barry 10. Match the f ollow ing film co mpo sers with the f ilms they Gibb’s reunion album titled “Guilty Pleasures” marked the 25th scored: anniversary of their highly successful 1980 collaboration. The new album is also released on DualDisc, containing a DVD on A. Flightplan one side and the entire audio album on CD o n the other side, B. Chic ken Little presented in PCM stereo. What is PCM stereo? C. Elizabethtown D. Oliver Twist A. Pers ona l Com pute r Mu sic B. Perfect Clarity Monitoring i. Nancy Wilson C. Pulse Code Modulation ii. Rachel Portman D. Profess iona lly Co mpr ess ed Music iii. John Debney E. Pitch-C han ged M idi file iv.

5. The Harry Fox Agency, Inc. offers mechanical and synch- 11. According to SoundScan’s 2005 Year-To-Date Soundtrack ronization licensing services. chart for the week ending September 25, 2005, how many mo- vie soundtrack albums initially released in 2005 have sold more A. True than 30 0,000 co pies in the U.S.? B. False A. none 6. has been no stranger to TV and movie sound- B. 1 tracks. Select the TV series or film whose soundtrack did NOT C. 5 contain a Coldplay track: D. 13

A. Proof (starring Gwyneth Paltrow, Anthony Hopkins and 12. This year’s Emmy for Ou tstanding Main Title Theme Mus ic Jake Gy llenh aal) was awarded last month to: B. Roswell (the UPN sci-fi teen drama) C. Six Feet Under, Vol. 2: Everything Ends (HBO series) A. James L. Venable for Cartoon Network’s “Foster’s Home D. Garden State (the Fox Searchlight/Miramax film starring For Imaginary Friends” Zach Braff) B. W.G. “Snuffy” Wa lden for Showtime’s “Huff” C. Michael McCuistion for Cartoon Network’s “Justice League 7. The sou ndtr ack albu m to the T wen tieth Cen tury Fox film Unlimited” Fantas tic Four featured suc h heavyw eights as Velvet Revolver, D. Danny Elfman for “” Taking Back Sunday, Chingy, Joss Stone, Ryan Cabrera, Sum E. Joel Goldsmith for Sci Fi TV’s “Stargate Atlantis” Forty One, Simple Plan an d Lloyd Banks . According to SoundScan as of Septemb er 28, 2005 , how ma ny units of th is 13. Which mu sic c om pan y rec ently ann oun ced t hat it wou ld album ha ve been sold in the U.S .? discontinue subscribing to SoundScan at the end of this calen- dar year? A. less than 50,000 units B. more than 225,000 units A. Capitol/EMI C. more than 500,000 units B. Sony/BMG D. more than 1 million units C. Warner Bros. D. Universal 8. True or False: The National Music Publishers Association (NMPA), the Harry Fox Agency, Inc. (HFA) and the Recording 14. Each of the following artists ha s been featured on 2 or Industry Association of America (RIAA) recently reached an more soundtrack albums. Match the a rtists with the p air of al- agreement sett ing forth the r oya lty ra tes a pplicable to bums on which they appear: Internet-based music subscription services which offer limited- use down loads and o n-deman d streaming. A. Inte rpol B. Jimm y Ea t Wo rld 9. Five years ago, the film “Oh Brother Where Art Thou” fea- C. Imogen Heap (a.k.a. “Frou Frou”) tured country, bluegrass, folk, gos pel, and blues music of the D. Eels Depression era. The soundtrack album has sold over 7 million copies to date in the U.S. The summer of 2005 saw The Dukes i. and Music From The O.C.: Mix 2 of Hazzard come to the big screen, which also featured region- ii. Music From The O.C.: Mix 2 and Six Feet Under, Vol. 2: al music (i.e., southern rock and country) featuring the likes of Everything Ends the Charlie Daniels Band, Lynyrd Skynyrd, Stevie Ray iii. : Mu sic From The WB Television Series and Vaughan, Willie Nelson, and Jessica Simpson’s remake of Nan- Music From The O.C.: Mix 3 – Have A Very Merry cy Sinatra’s “These Boots Are Made For Walkin’.” The film was number one in the country on opening weekend and has since iv. Music From The O.C.: Mix 4 and Garden S tate grossed about $80 million at the box office to date. How many units has The Dukes of Hazzard album sold in the U.S. (as of 15. Finally, back to the “o ld codgers.” Put the following artists late September 20 05, acco rding to Soun dScan)? in age order from youngest to oldest:

A. 200,000 units A. Paul McCartney B. 500,000 units B. Eric Clapton C. 700,000 units C. Mick Jagger of The Rolling Stones D. 1,000,00 0 units D. Bob Dylan (Answers on Page 5) ADVENTURES IN MUSIC LICENSING Steven Winogradsky, Esq.

It seems that everyone who of course they could do it, if they right owner who demands un- works in TV or film production had enough time to learn how to reasonable terms. For example, knows two things: (1) their own contact all the parties and what there is one publisher who, as job, and (2) music. We all listen each party’s policies are. What part of their motion picture li- to the radio or CD player in our music clearance companies sell is cense, has a clause making it a car and have a feeling of what we their expertise. While a producer material breach, subject to an like to hear. Why not impose that might need ten phone calls to injunction against distribution on the film? Needless to say, the find out who owns a song, I and release, if they fail to receive process of selecting music for a might only need three calls (or two tickets to the premiere of the film is not that easy. frequently less). This might not movie. While complying with this There’s a right way and a seem important until the pro- requirement may not seem like a wrong way to do music ducer needs a song for the next big deal, the parties responsible supervision. The good music day’s shooting, where my know- for licensing the music for the supervisors know that they not ledge and contacts might be able production company generally only have to make good creative to make the deal in time. have no control over who is in- selections but ones that make Multiple copyright owners vited to the premiere, leaving sense from a business point of also adds to the problems. Simply open the possibility of a breach. view. A song by the Rolling stated, the more parties that Often, the specific approval Stones may be the perfect song have to be contacted, the longer of the writer or artist may be for a scene, but unless you have the approval process. One co- necessary. As all approvals are a large music budget, the song is owner can grant rights on behalf discretionary, the writer or artist out of reach. A good supervisor of all the owners only if there is may deny the usage of a song for won’t even suggest such a song no co-administration agreement any reason. Sometimes the without checking with their clear- between them. Most agreements reasons have to do with the con- ance person to see if the song is of this kind call for each party to text in which the song is used or obtainable. Why get the director administer its own share directly. the deal terms. Occasionally, excited over a piece of music he In addition, there may be dis- however, it has to do with the fi- can’t have? putes as to the respective shares nancial status of the writer/pub- There are a number of of each owner. Until resolved, a lisher or artist/record company reasons why producers may have producer may face the possibility relationship. For example, if a trouble in trying to license music of licensing (and paying for) more recording artist’s royalty account for their productions. The most than 100% of the copyright, if is unrecouped, although the easily controllable is the time the parties are willing to enter license fee will be credited to factor. As is becoming in- into negotiations at all prior to re- their account, they may not see creasingly more common, record solution of the ownership splits. any of the income from the companies and music publishers Sometimes, a deal can be made license fee paid to the record are required to get approval from for a certain fee, subject to each company. As such, they have no their artists/songwriters in order party receiving its respective incentive to agree to the use. to license their music. This, of share once the deals are fina- Sometimes the record company course, takes time, especially if lized. and artist will reach some accom- the artist is on the road and not Along the same line, one co- modation regarding a division of easily available. With multiple owner may require a fee dispro- the income from the license fee songwriters, this only adds to the portionate to its ownership so that the artist will receive a time required. interest. This is especially portion of the fee directly and an Knowing how this area of the troublesome if the other co- approval will be given, but the business works can be crucial to owners have granted fees on a producer is at the whim of the the process. I’m not here to tell Most Favored Nations basis, other parties regarding that de- you that music clearance is brain where, despite their willingness termination. surgery but it does require to accept a lower and more A common practice today is knowledge and experience to do reasonable fee, they will receive for the music editor, when a it right. Often, prospective clients their pro rata share of the higher rough cut of the film is available, ask why I charge what I charge fee quoted by one owner. to prepare a temporary sound- for doing music clearance. After Because licensing terms are track to the film so that the direc- all, isn’t it something they could totally negotiable, the producer tor can see it with some music do? My typical response is that, may be at the mercy of a copy- behind it and get a better sense of the rhythm and feel of the the film “Mask”. Peter Bogdono- jor independent film company) film. These “temp tracks” can vich, director of the film, had a called the Italian publisher direct- cause some problems, however. personal relationship with Bruce ly, who advised his friend that, of Often, the director gets so used Springsteen. Springsteen appa- course the song was available to seeing his film with a particular rently gave Bogdonovich approval and could be licensed for piece of music that he feels that to use his songs in the film. Bog- $100,000. All of a sudden, this only that music will be acceptable donovich did so, to the point of piece of music was no longer that for the film. At that point, the prints of the film being duplicated important to the film. music needs to be cleared and li- for release. What Bogdonovich On this same film, there was censed. Unfortunately, because of failed to do, however, was to ask a decided difference of opinion the director’s emotional invest- permission of Columbia (now So- about the direction the music ment in the music, a deal may ny) Records, who owned Spring- should take. One side wanted a have to be struck with licensors steen’s recordings. Columbia not jazz feel and we cleared a lot of on term that are less than rea- only asked for a high license fee music by Chet Baker. The other sonable in the context of the but also required points in the side wanted a more contempo- overall film. Music editors, in ge- film, an unheard of situation in a rary, R&B and pop feel. As pre- neral, try to place in the film music licensing agreement. If views were held and different whatever they think works best, you see “Mask”, note that instead versions of the film screened, no without regard to any considera- of hearing music by New Jersey clear choices emerged. On the tions regarding licensing or po- working class hero Springsteen, two nights before the premiere, tential costs. Most are unaware of you’ll hear music by Detroit work- two different versions were pre- parties who are difficult to deal ing class hero Bob Seger. viewed. In the three weeks pre- with, nor should they be. That is With all due respect to direc- ceding the final dub we cleared not their job. Because of this tors and producers, I have come 28 songs for the film. Luckily (for practice, however, the lives of to learn that no one piece of mu- me, not for them), I was charging producers, directors and clear- sic will make or break a film. On them by the song. ance personnel are sometimes a recent medium budget ($15 My most recent horror story thrown into turmoil in trying to million) film I worked on, the di- involves a television program fea- clear a song that may not be rector felt that he “had to, had to, turing two members of a group available on the terms required had to” have a piece of music by from the 1970's whose publishing by the producer or, in some ca- . The copyright was required unanimous consent from ses, not available at all. owned by an Italian publisher, all members. As there was a re- Producers must also be aw- but was administered in the Uni- cent lawsuit between members, are that not all music is available States by one of the majors. this was not possible, so no sync for licensing. Just because it is Upon contacting them in March, I quotes were granted. The mana- heard on the radio or in the con- was advised that the Italian pub- ger for these two members told text of a live broadcast does not lisher never responded to licen- my producer client that his attor- mean that a song can be licensed sing requests and that my produ- ney said that “if the composer for your production. Live broad- cer client should choose some- was on stage next to the perfor- casts, for example, do not require thing else. After several months mer, no sync licenses were ne- permission and radio is covered and several requests, I attempted cessary.” This makes the “You under blanket licenses from to contact the Italian publisher can use 12 bars for free” rumor ASCAP and BMI. In addition, the myself. Again, after several faxes seem sane in comparison. copyright owner may not approve and phone calls over a period of Anyone who has done music of the context in which the music time, there was either no res- clearance for any length of time is being used. Nudity, profanity ponse, or I was told that the ow- has similar stories. The key for and politics of the artist/songwri- ner of the company was frequent- producers is to work with supervi- ter all contribute to the use of a ly out of town on business. sors and clearance companies song being denied. Still, the creative parties did who know their business. It will It is also essential that the not want to give up. The music save you hours and hours of wor- production company make sure supervisor also made contact with ry and re-dubbing, as well as that they are negotiating with the the publisher and faxes were sent your sanity. correct party for the use of mu- directly to the owner of the com- sic. A recording artist generally pany. Finally, the day before the Steven Winogradsky, Esq. is does not own his recordings - his final dub of the film for release at the President of The Winogradsky record company does. The classic the end of December, the head of Company in North Hollywood and example of this type of mistake is the distribution company, (a ma- a renowned bon vivant. Quiz Answers: 10. A–iv. Flightplan – James Hor- ner COPYRIGHT CONFERENCE 1. A – iv. Paul McCartney – B.-iii. Chicken Little – John “Chaos And Creation In The Debney P.O. Box 57962 Backyard” C.- i. Elizabethtown – Nancy Sherman Oaks, CA 91413 B. – ii. Eric Clapton - “Back Wilson Home” D.-ii. Oliver Twist – Rachel Voice Mail: 818-379-3312 C. – iii. The Rolling Stones – “A Portman Bigger Bang” Website: D. – i. Bob Dylan - “No Direc- 11. B – 1. As of this printing, http://www .theccc.org tion Home: The Soundtrack -- ’ Star Wars Episode The Bootleg Series Vol. 7” III: Revenge of the Sith has sold the most units of all movie sound- Our website is the place to find information on upcoming m eet- 2. C. $.091 / $.0175 per minute track albums initially released in ings and other events. Make re- or fraction thereof the U.S. in 2005. As of 9/25/05, it has sold 312,976 copies. servations, join, or renew your membership online. To view past 3. D. The Pussycat Dolls whose issues of the CCC newsletter, current single "Don't Cha" featuring 12. D. Danny Elfman visit our website and click News. Busta Rhymes has topped the Euro- chart Hot 100 Singles for a third 13. D. Universal MEMBERSHIP week. 14. A.- ii Interpol / Music From The price of an individual The O.C.: Mix 2 and Six Feet 4. C. Pulse Code Modulation membership is still only $55 an- 48kHz/24-bit - which converts ana- Under, Vol. 2: Everything nually (renewable in July). Enjoy log signals into serial digital data. Ends each dinner seminar at the spe- The 48K represents the sample rate B. - iii Jimmy Eat W orld / cial member rate of $28; the (i.e., the data is sampled 48,000 One Tree Hill: Music From non-member rate is $35. MCLE times per second). The 24-bit The WB Television Series and credit is available. refers to the quantization reso- Music From The O.C.: Mix 3 Corporate Members ($250, re- lution. This process assigns a series – Have A Very Merry Chris- newable in July) can send up to of numbers to each sample which mukkah 10 people to each dinner refer to a given amplitude. This is C. - iv Imogen Heap (a.k.a. seminar at the member dinner superior to the standard CD “Frou Frou”) / Music From price. Our growing l ist of Corpo- sampling rate of 44.1 kHz/16-bit The O.C.: Mix 4 and Garden rate Members proudly support depth. State the CCC’s long tradition of D. – i. Eels/Shrek 2 and Mu- service and education. 5. B - False. HFA discontinued sic From The O.C.: Mix 2 synch licensing services in June MONTHLY DINNER 2002. 15. B. Eric Clapton – age 60 MEETINGS: C. Mick Jagger of The Rol- 6. A. Proof – Although the film ling Stones – age 62 Held once a month, on selected stars Gwyneth Paltrow – wife of A. Paul McCartney – age 63 Tuesdays Coldplay’s frontman Chris Martin, D. Bob Dylan – age 64 Coldplay’s music is not featured in 6:15 p.m . Check-In this soundtrack. If you got 5-9 answers correct, 6:30 p.m. Cocktails & not bad – you’re reading your trades Networking 7. A. The album has sold 46,984 every Monday and Friday, but seem 7:00 p.m. Dinner & Meeting units in the U.S., according to to be slacking off mid-week. If you SoundScan as of 9/25/05. got 10 or more correct, you’re well Upcomin g Meetings: on your way to becoming senior 8. False: The agreement was editor at Billboard Magazine. And if Podcasting entered into four years ago (on you got less than 4 correct, your November 8, 2005 October 5, 2001), and has yet to subscriptions have obviously run out produce an agreed upon royalty and it’s tim e to renew again! Holiday Party rate for on-demand streams or li- Randall Rumage is V.P. of Busi- December 6, 2005 mited downloads. ness Affairs for Rondor Music Inter- national, Inc., a wholly-owned divi- + 9. A. – 200,000 units sion of . DURATION OF COPYRIGHT IN MUSICAL WORKS OUTSIDE THE UNITED STATES

Richard Green

Number of years after the death of the author (or last surviving coauthor):

Afghanistan Minimal Dominican Lib ya No copyright law Saudi Arabia 50 years protection - Republic 50 years Liechtenstein 70 years Serbia and no term defined Ecuador 70 years Lithuania 70 years Montenegro 50 years Albania 70 years Egypt 50 years Luxembourg 70 years Seychelles 25 years Algeria 50 years El Sal vador 50 years Macao 50 years Singapore 70 years Andorra 70 years Estonia 70 years Macedonia 70 years Slovakia 70 years Angola 50 years Fiji 50 years Madagascar 50 years Slovenia 70 years Antigua and Finland 70 years Malawi 50 years South Africa 50 years Barbuda 50 years France 70 years Malaysia 50 years Spain 70 years Argentina 70 years (war extensions for Maldives No copyright law (works created before Armenia 50 years works created after Mali 50 years 1987 by nationals Australia 70 years World War I, but before Malta 70 years from any EU Austria 70 years World War II by Marshall coun try) 80 years Azerbaijan 50 years nationals from any EU Islands No copyright law Sri Lanka 50 years Bahrain 50 years coun try) Approx. 79 years Maruitius 50 years Sudan 50 years Bangladesh 50 years (war extensions for Mexico 100 years Swaziland No copyright law Barba dos 50 years works created before Mongolia 50 years Sweden 70 years Belarus 50 years World War I by Morocco 50 years Switzerland 70 years Belgium 70 years nationals from any EU Namibia 50 years Syria 50 years Belize 50 years coun try) 85 years Nepal 50 years Taiwan 50 years Benin 50 years Georgia 70 years Netherlands 70 years Thailand 50 years Bhutan 50 years Germany 70 years New Zealand 50 years Togo 50 years Bolivia 50 years Ghana 50 years Nicaragua 70 years Trinidad and Bosnia and Greece 70 years Niger 50 years Tobago 50 years Herzegovina 70 years Guatemala 75 years Nigeria 70 years Tunisia 50 years Brazil 70 years Honduras 75 years Norway 70 years Turkey 70 years Brunei Hong Kong 50 years Oman 50 years Tuvalu Minimal protection - Darussalam 50 years Hungary 70 years Pakistan 50 years no term defined Bulgaria 70 years Iceland 70 years Palau 50 years Ukraine 50 years Burkina Faso 50 years India 60 years Panama 50 years United Arab Burundi 50 years Indonesia 50 years Papua New Emirates 50 years Cambodia 50 years Iran 30 years Guinea 50 years United Kin gdom 70 years Cameroon 50 years Iraq 50 years Paraguay 70 years United Republic Canada 50 years Ireland 70 years Peru 70 years of Tanzania 50 years Chile 50 years Israel 70 years Philippines 50 years United States 70 years China 50 years Italy 70 years Poland 70 years Uruguay 50 years Colombia 80 years Ivory Coast 99 years Portugal 70 years Uzbekistan Minimal Cook Islands New Zealand law, Jamaica 50 years Qatar 50 years protection - no protection but not enforced Japan 50 years Republic of Korea 50 years for pre-existing works Costa Rica 70 years Jordan 50 years Republic of Vatican City 70 years Croatia 70 years Kazakhstan 50 years Moldava 50 years Venezuela 60 years Cuba 50 years Ken ya 50 years Romania 70 years Viet Nam 50 years Cyprus 50 years Kuwait 50 years Russian Yemen 30 years Czech Republic 70 years Kyrgyzstan 50 years Feder ation 50 years Zambia 50 years Denmark 70 years Laos No copyright law Saint Vincent and Djibouti 25 years Latvia 70 years the Grenadines 50 years Dominica 70 years Lebanon 50 years Samoa 75 years

The chart above represents the standard term of copyright protection for musical works. The main change for 2005 is the extension to 70 years of protection in Australia which went into effect January 1. 100 years Mexico 99 years Ivory Coast 85 years France (war extensions for works created before World War I by nationals from any EU country) 80 years Colombia Spain (works created before 1987 by nationals from any EU country) Approx. 79 years France (war extensions for works created after World War I, but before World War II by nationals from any EU country) 75 years Guatemala, Honduras, Samoa 70 years Albania, Andorra, Argentina, Australia, Austria, Belgium, Bosnia and Herzegovina, Brazil, Bulgaria, Costa Rica, Croatia, Czech Republic, Denmark, Dominica, Ecuador, Estonia, Finland, France, Georgia, Germany, Greece, Hungary, Iceland, Ireland, Israel, Italy, Latvia, Liechtenstein, Lithuania, Luxembourg, Macedonia, Malta, Netherlands, Nicaragua, Nigeria, Norway, Paraguay, Peru, Poland, Portugal, Romania, Singapore, Slovakia, Slovenia, Spain, Sweden, Switzerland, Turkey, United Kingdom, United States, Vatican City 60 years India, Venezuela 50 years Algeria, Angola, Antigua and Barbuda, Armenia, Azerbaijan, Bahrain, Bangladesh, Barbados, Belarus, Belize, Benin, Bhutan, Bolivia, Brunei Darussalam, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Chile, China, Cuba, Cyprus, Dominican Republic, Egypt, El Salvador, Fiji, Ghana, Hong Kong, Indonesia, Iraq, Jamaica, Japan, Jordan, Kazakhstan, Kenya, Kuwait, Kyrgyzstan, Lebanon, Macao, Madagascar, Malawi, Malaysia, Mali, Mauritius, Mongolia, Morocco, Namibia, Nepal, New Zealand, Niger, Oman, Pakistan, Palau, Panama, Papua New Guinea, Philippines, Qatar, Republic of Korea, Republic of Moldava, Russian Federation, Saint Vincent and the Grenadines, Saudi Arabia, Serbia and Montenegro, South Africa, Sri Lanka, Sudan, Syria, Taiwan, Thailand, Togo, Trinidad and Tobago, Tunisia, Ukraine, United Arab Emirates, United Republic of Tanzania, Uruguay, Viet Nam, Zamb ia 30 years Iran, Yemen 25 years Djibouti, Seychelles No copyright law or minimal Afghanistan (minimal - no term defined), Cook Islands (New Zealand law, copyright protection: but not enforced), Laos, Libya, Maldives, Marshall Islands, Swaziland, Tuvalu (minimal - no term defined), Uzbekistan (no protection for pre- existing works)

NOTES: repression and were rehabilitated posthumously. The 50 1) Under the European Union Treaty, France and year term is calculated from the date of rehabilitation. Spain are not allowed to discriminate against the nationals 5) The Ukraine grants extensions of the term of of other member states. Accordingly, War Extensions in copyright protection to authors that suffered repression France and the longer term of protection in Spain must be and were rehabilitated posthumously. The 50 year term is granted to qualifying works by nationals of all countries in calculated from the date of rehabilitation. the European Union. 6) Copyright in Vatican City is governed by Italian 2) Iraqi law is Coalition Provisional Authority Order law. Number 83, issued May 1, 2004 by L. Paul Bremer. The foregoing charts are intended only as a 3) Japan grants War Extensions of the term of general reference guide and not a substitute for copyright protection to certain copyrights, provided the legal advice from a music attorney or the expert copyrights meet certain criteria. For qualifying works, the opinions of a musicologist. term of copyright may be extended for a period of up to © 2005 Richard Green nearly four years. Richard Green works as a musicologist representing 4) The Russian Federation grants War Extensions of studios and production companies in Studio City. He is four years to authors that served or participated in "The also active as a composer/pianist, and has a record deal Great Patriotic War." Russia also grants extensions of the with Jingo Digital in Taiwan. He can be reached at term of copyright protection to authors that suffered [email protected]