Musician, You’D Have to Be a Damn Fool Not to Rush out and Buy NOLO a Copy of This Book.” JIM AIKEN, KEYBOARD
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Lyrics and the Law : the Constitution of Law in Music
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2006 Lyrics and the law : the constitution of law in music. Aaron R. S., Lorenz University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lorenz, Aaron R. S.,, "Lyrics and the law : the constitution of law in music." (2006). Doctoral Dissertations 1896 - February 2014. 2399. https://scholarworks.umass.edu/dissertations_1/2399 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. LYRICS AND THE LAW: THE CONSTITUTION OF LAW IN MUSIC A Dissertation Presented by AARON R.S. LORENZ Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2006 Department of Political Science © Copyright by Aaron R.S. Lorenz 2006 All Rights Reserved LYRICS AND THE LAW: THE CONSTITUTION OF LAW IN MUSIC A Dissertation Presented by AARON R.S. LORENZ Approved as to style and content by: Sheldon Goldman, Member DEDICATION To Martin and Malcolm, Bob and Peter. ACKNOWLEDGMENTS This project has been a culmination of many years of guidance and assistance by friends, family, and colleagues. I owe great thanks to many academics in both the Political Science and Legal Studies fields. Graduate students in Political Science have helped me develop a deeper understanding of public law and made valuable comments on various parts of this work. -
Music Law and Business: a Comprehensive Bibliography, 1982-1991 Gail I
Hastings Communications and Entertainment Law Journal Volume 13 | Number 4 Article 5 1-1-1991 Music Law and Business: A Comprehensive Bibliography, 1982-1991 Gail I. Winson Janine S. Natter Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Gail I. Winson and Janine S. Natter, Music Law and Business: A Comprehensive Bibliography, 1982-1991, 13 Hastings Comm. & Ent. L.J. 811 (1991). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol13/iss4/5 This Special Feature is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Music Law and Business: A Comprehensive Bibliography, 1982-1991* By GAIL I. WINSON** AND JANINE S. NArrER*** Table of Contents I. Law Review and Journal Articles ......................... 818 A . A ntitrust ............................................ 818 B. Bankruptcy .......................................... 819 C. Bibliographies ....................................... 819 D . Contracts ........................................... 819 1. M anagem ent ..................................... 821 2. Personal Service ................................ -
Entertainment and Sports Law University of Memphis Law School Career Services Office
Entertainment and Sports Law University of Memphis Law School Career Services Office What is entertainment and sports law? Entertainment and sports law is civil law of a specific character that relates to the fields of entertainment and athletics. The practice involves contracts, labor law, corporate finance, intellectual property, and antitrust. Lawyers practicing in the field of entertainment and sports law specialize in knowing and understanding their clients’ industry and are able to advocate for their clients’ interests. In the major professional sports leagues of the National Football League (“NFL”), Major League Baseball (“MLB”), Na- tional Basketball Association (“NBA”), and National Hockey League (“NHL”), players’ associations act much like unions, regulating fees and salaries for sports professionals, coaches, and agents. For the lawyer specializing in entertainment law, intellectual property law takes center stage. Copyright law concerns the rights of creators of artistic works in the music, entertainment, publishing, and fine arts industries. Where do entertainment and Where do sports and entertainment lawyers do? sports lawyers work? Negotiating: Sports and entertainment lawyers negotiate contracts with spon- Private law firms: Some large firms sorships, television syndicators, and other representatives that interact with have departments specializing in the sports and entertainment industry. A lawyer working for a band might help to negotiate contracts with particular venues at a particular rate. entertainment and sports law, es- pecially in large cities where record Transactional work: Entertainment lawyers frequently contract for one-time labels house their headquarters or events that may never reoccur. Thus, entertainment and sports lawyers must in cities with professional sports be able to draft contracts that advance and protect their clients’ interests under a variety of circumstances. -
Music Law 102
Music Law 102 2019 Edition LawPracticeCLE Unlimited All Courses. All Formats. All Year. ABOUT US LawPracticeCLE is a national continuing legal education company designed to provide education on current, trending issues in the legal world to judges, attorneys, paralegals, and other interested business professionals. New to the playing eld, LawPracticeCLE is a major contender with its oerings of Live Webinars, On-Demand Videos, and In-per- son Seminars. LawPracticeCLE believes in quality education, exceptional customer service, long-lasting relationships, and networking beyond the classroom. We cater to the needs of three divisions within the legal realm: pre-law and law students, paralegals and other support sta, and attorneys. WHY WORK WITH US? At LawPracticeCLE, we partner with experienced attorneys and legal professionals from all over the country to bring hot topics and current content that are relevant in legal practice. We are always looking to welcome dynamic and accomplished lawyers to share their knowledge! As a LawPracticeCLE speaker, you receive a variety of benets. In addition to CLE teaching credit attorneys earn for presenting, our presenters also receive complimentary tuition on LawPracticeCLE’s entire library of webinars and self-study courses. LawPracticeCLE also aords expert professors unparalleled exposure on a national stage in addition to being featured in our Speakers catalog with your name, headshot, biography, and link back to your personal website. Many of our courses accrue thousands of views, giving our speakers the chance to network with attorneys across the country. We also oer a host of ways for our team of speakers to promote their programs, including highlight clips, emails, and much more! If you are interested in teaching for LawPracticeCLE, we want to hear from you! Please email our Directior of Operations at [email protected] with your information. -
Neutral Is the New Blind
Neutral is the New Blind: Calling for Gender Segregated Evidence in UK Legislative Inquiries regarding the Music Industries Dr Metka Potočnik* Abstract In late 2020, the Government responded to the enormous crisis in the UK music industries, caused by the Covid-19 pandemic, by initiating several legislative inquiries, aimed at reviewing the rules regulating the industry, including rules on commercialisation of intellectual property (IP). The aim of the Department for Digital, Culture, Media & Sport (DCMS) inquiries is purportedly to improve the fairness and viability of the sector, which was devastated by the pandemic. At the same time, the Covid-19 crisis served as a catalyst to expose the pre-existing inequalities and unfairness in the UK music industries. This article explores the path of the UK DCMS 2020-21 legislative inquiry into the Economics of Music Streaming as a case study to the current approach in UK regulation of the music industries. Informed by the feminist theory of relational legal feminism and embedded in the broader framework of IP Social Justice theory, the author argues that the current approach to legislative inquiries is incomplete, because it fails to take into account the systemic barriers faced by women (i.e., all who identify as women), including gender minority musicians in the sector. The evidence collected fails to investigate the lived experience of women, to the detriment of fairness of the overall proposal of future reform. Keywords Feminist scholarship, IP Social Justice, Intellectual Property Law, the music industries, streaming, communication to the public, Brexit, EU-derived domestic legislation, retained EU case law, evidence-led policy, legislative inquiry. -
Freedom and Constraint in Adjudication: a Critical Phenomenology Duncan Kennedy
[3] 518 Freedom and Constraint in Adjudication: A Critical Phenomenology Duncan Kennedy This paper attempts to describe the process of legal reasoning as I imagine I might do it if I were a judge assigned a case that initially seemed to present a conflict between "the law" and "how-I-want-to-come-out." Such a description, if at all true to experience, may be helpful in assessing the various claims about and images of law that figure in jurisprudential, political, and social theoretical discussion. It may also be helpful in assessing what law teachers teach future lawyers about the nature of the materials they will use in their profession. But I will have little to say about these implications, aside from a polemical afterword.1 I am not sure what difference it makes to the phenomenology of adjudication whether I begin with this situation rather than another. The whole experience of law may be sufficiently the same thing through and through so that wherever you start, you end up with approximately the same picture. Or it may be that there is no experience of legality that's constant without regard to role and initial posture of the case. What I am convinced of is the need to start with some particularization. I don't find myself at all convinced when people start out claiming they can tell us about judging without some grounding in a specific imagined situation. * * * The judge is a federal district court judge in Boston. I am from Boston. I'm more a ruling class elite type than a local politician or notable type, which is why I choose the federal forum. -
Digital Sampling and the Legal Implications of Its Use After Bridgeport
Journal of Civil Rights and Economic Development Volume 22 Issue 1 Volume 22, Summer 2007, Issue 1 Article 9 Digital Sampling and the Legal Implications of Its Use After Bridgeport Amanda Webber Follow this and additional works at: https://scholarship.law.stjohns.edu/jcred This Note is brought to you for free and open access by the Journals at St. John's Law Scholarship Repository. It has been accepted for inclusion in Journal of Civil Rights and Economic Development by an authorized editor of St. John's Law Scholarship Repository. For more information, please contact [email protected]. DIGITAL SAMPLING AND THE LEGAL IMPLICATIONS OF ITS USE AFTER BRIDGEPORT AMANDA WEBBER* INTRODUCTION The increase in digital sampling has been greatly attributed to the hip hop industry,1 one of the most influential and popular genres of music in the world today.2 "Old recordings are to the hip-hop producer what paint is to the painter-raw material to be manipulated into art."3 Today's "studio musicians" are able to manipulate and add effects to previously recorded music, creating an infinite amount of new and innovative sounds without fear of ruining the sound quality.4 However, to the world outside of the hip hop industry, music that utilizes digital * J.D. Candidate, June 2007, St. John's University School of Law; B.A. Public Relations, Minor in Business, Pennsylvania State University at University Park, December 2003. 1 See Susan Butler, Court Ruling Could Chill Sample Use, BILLBOARD, September 18, 2004. According to the Roots' co-manager Shawn Gee, "[s]ampling is so important. -
From Owning to Using Music: Transactional Music Attorneys Struggle with a Changing Landscape and Its Financial Realities
From Owning to Using Music: Transactional Music Attorneys Struggle With A Changing Landscape and Its Financial Realities By John Simson1 and Ken Abdo2 It is nearly impossible to describe the momentous seismic shift that we have all witnessed over the past fifteen years with each new technological development and method of delivering music to consumers; it is probably enough to say that it’s been a hell of a ride! Transactional music attorneys have seen the transformation of five major labels into three major entertainment companies: no longer able to achieve the return on investment from CD sales that fueled their enormous growth in the 1980’s and 1990’s, they have tried to re‐invent themselves as leaner, more agile, marketers and branders of recording artists. Record company executives have long claimed that it was record company money that built brands through the recordings they funded and released together with the promotion and marketing they advanced and administered. Tour support was frequently the only way that new bands could afford to tour and grow a fan base. Is it more surprising that for decades record labels didn’t try to share in touring and that their attempts to share in other revenue streams, most notably merchandize and publishing, were on a “right to match” another company’s offer and not compelled under the terms of the record deal? Now it is expected that 1 John L. Simson was signed to Perception Records in 1971 as a singer/songwriter. He was recently named a Special Consultant for Artist Relations and Business Development by Kobalt Music to assist them in building a "neighboring rights" business (collecting artists' royalties around the world). -
How Spotify Killed the Radio Star: an Analysis on How the Songwriter
Cybaris® Volume 6 | Issue 1 Article 7 2015 How Spotify Killed the Radio Star: An Analysis on How the Songwriter Equity Act Could Aid the Current Online Music Distribution Market in Failing Artists Caitlin Kowalke Follow this and additional works at: http://open.mitchellhamline.edu/cybaris Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Kowalke, Caitlin (2015) "How Spotify Killed the Radio Star: An Analysis on How the Songwriter Equity Act Could Aid the Current Online Music Distribution Market in Failing Artists," Cybaris®: Vol. 6: Iss. 1, Article 7. Available at: http://open.mitchellhamline.edu/cybaris/vol6/iss1/7 This Article is brought to you for free and open access by the Law Reviews and Journals at Mitchell Hamline Open Access. It has been accepted for inclusion in Cybaris® by an authorized administrator of Mitchell Hamline Open Access. For more information, please contact [email protected]. © Mitchell Hamline School of Law Kowalke: How Spotify Killed the Radio Star: An Analysis on How the Songwri Published by Mitchell Hamline Open Access, 2015 1 Cybaris®, Vol. 6, Iss. 1 [2015], Art. 7 HOW SPOTIFY KILLED THE RADIO STAR: AN ANALYSIS ON HOW THE SONGWRITER EQUITY ACT COULD AID THE CURRENT ONLINE MUSIC DISTRIBUTION MARKET IN FAILING ARTISTS CAITLIN KOWALKE† TABLE OF CONTENTS I. Introduction ............................................................................. 195 II. What Ownership Rights Are Songwriters Guaranteed Under Current Copyright Law? ........................................... 198 A. Mechanical Licenses ..................................................... 198 B. Compulsory Licenses ..................................................... 200 C. Section 114 Limitations ................................................. 204 III. Industry Limitations on Musical Copyright Today ............... 205 A. Emerging Technology as a Constant Threat to Copyright Protections .................................................. -
To Download a Song List
Gina DeLuca SONG LIST 4 Non Blondes Long December George Michael What’s Up? Mr. Jones Faith Alanis Morrissette Crowded House Father Figure Hand In My Pocket Don’t Dream It’s Over Gloria Gaynor Head Over Feet Something So Strong I Will Survive Right Through You Dada Goo Goo Dolls You Oughta Know Dim Iris Your House David Alan Coe Green Day Albert Collins You Never Call Me By My Name The Time Of Your Life Shoe On The Other Foot David Gray Howard Jones Allman Brothers Babylon No One Is To Blame Melissa Deep Blue Something Huddie Leadbetter Beth Hart Breakfast At Tiffany’s Where Did You Sleep Last Night? L.A. Song Depeche Mode Indigo Girls Bette Midler Nothing Closer To Fine The Rose Somebody INXS Black Crowes Dido Never Tear Us Apart She Talks To Angels Thank You James Blind Melon Dishwalla Laid No Rain Counting Blue Cars Say Something Blondie Don McLean- $10 Jane's Addiction The Tide Is High American Pie Jane Says Bob Dylan Erasure Janis Joplin Don’t Think Twice A Little Respect Me & Bobby McGee Buck Owens Eurythmics Mercedes Benz Act Naturally Here Comes The Rain Again Jann Arden Cab Callaway Fastball Insensitive Minnie The Moocher The Way Jewel Chris Isaak Fats Domino Down So Long Wicked Game Ain’t That A Shame Who Will Save Your Soul Christina Aguilera Five For Fighting You Were Meant For Me Beautiful Superman Jimmy Buffet-$50! Coldplay Fleetwood Mac Margaritaville Yellow Dreams Joan Osborne Collective Soul Landslide One Of Us Run Freedy Johnston John Denver Concrete Blonde Bad Reputation Leaving On A Jet Plane Joey Frente! Johnny Cash -
14Th Amendment US Constitution
FOURTEENTH AMENDMENT RIGHTS GUARANTEED PRIVILEGES AND IMMUNITIES OF CITIZENSHIP, DUE PROCESS AND EQUAL PROTECTION CONTENTS Page Section 1. Rights Guaranteed ................................................................................................... 1565 Citizens of the United States ............................................................................................ 1565 Privileges and Immunities ................................................................................................. 1568 Due Process of Law ............................................................................................................ 1572 The Development of Substantive Due Process .......................................................... 1572 ``Persons'' Defined ................................................................................................. 1578 Police Power Defined and Limited ...................................................................... 1579 ``Liberty'' ................................................................................................................ 1581 Liberty of Contract ...................................................................................................... 1581 Regulatory Labor Laws Generally ...................................................................... 1581 Laws Regulating Hours of Labor ........................................................................ 1586 Laws Regulating Labor in Mines ....................................................................... -
Law and Digestion: a Brief History of an Unpalatable Idea Dan Priel Osgoode Hall Law School of York University, [email protected]
Osgoode Hall Law School of York University Osgoode Digital Commons Research Papers, Working Papers, Conference Osgoode Legal Studies Research Paper Series Papers 2017 Law and Digestion: A Brief History of an Unpalatable Idea Dan Priel Osgoode Hall Law School of York University, [email protected] Follow this and additional works at: https://digitalcommons.osgoode.yorku.ca/olsrps Part of the Law Commons Recommended Citation Priel, Dan, "Law and Digestion: A Brief History of an Unpalatable Idea" (2017). Osgoode Legal Studies Research Paper Series. 194. https://digitalcommons.osgoode.yorku.ca/olsrps/194 This Article is brought to you for free and open access by the Research Papers, Working Papers, Conference Papers at Osgoode Digital Commons. It has been accepted for inclusion in Osgoode Legal Studies Research Paper Series by an authorized administrator of Osgoode Digital Commons. Law and Digestion: A Brief History of an Unpalatable Idea Dan Priel* Abstract: According to a familiar adage the legal realists equated law with what the judge had for break- fast. As this is sometimes used to ridicule the realists, prominent defenders of legal realism have countered that none of the realists ever entertained any such idea. In this short essay I show that this is inaccurate. References to this idea are found in the work of Karl Llewellyn and Jerome Frank, as well as in the works of their contemporaries, both friends and foes. But I also show the idea is older than the legal realists. One finds casual references to it in academic literature and newspapers from around that time, which suggest that the phrase reflected something of a received, if cynical, wisdom.