Music Law and Business: a Comprehensive Bibliography, 1982-1991 Gail I

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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

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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 ...... 821 3. Publishing ...... 821 4. Recording ...... 821 5. Rem edies ...... 822 E. Copyright and Related Rights ...... 822 1. Digital Sampling ...... 825 2. Digital Technology ...... 827 3. Litigation ...... 828 4. Public Performance ...... 830 5. Public Performance-Licensing ...... 831 6. Sound Recordings ...... 833 7. Sound Recordings-Piracy ...... 835

* This work incorporates Winson, Music and the Law: A Comprehensive Bibliography of Law Related Materials, Supplement (1982-1984), 6 Hastings Comm/Ent Law Journal 967-980 (Summer 1984). For earlier materials see Winson, Music and the Law: A Comprehensive Bibliography of Law Related Materials, 4 Hastings Comm/Ent Law Journal 489-551 (Spring 1982). ** B.A., Moravian College, 1966; M.S., Drexel University, 1971; J.D., University of Florida, 1979; Member of The Florida Bar and the State Bar of California; Adjunct Assistant Professor of Law and Acting Director, Legal Information Center, University of California, Hastings College of the Law. *** Associate, Schnader, Harrison, Segal & Lewis, New York City; B.A. The American University, 1983; J.D., University of California, Hastings College of the Law, 1991. The authors gratefully acknowledge the assistance of Ann Sinfield, Veronica Maclay, and Dan Taysom, members of the Hastings Legal Information Center staff. 812 HASTINGS COMM/ENT L.J. [Vol. 13:811

F. Foreign, International, and Comparative Law ...... 836 1. Australia ...... 837 2. Canada ...... 837 3. European Communities ...... 838 4. France ...... 838 5. Germ any ...... 838 6. United Kingdom ...... 839 G. Free Speech Issues ...... 840 H . G eneral ...... 843 I. Im migration ...... 843 J. Labor ...... 843 K. Management, Taxation, and Estate Planning ...... 844 L. Merchandising and Sponsorship ...... 846 M. Motion Picture Music ...... 847 N. M usic Videos ...... 847 0. M usic-Litigation ...... 848 P. M usicians ...... 848 Q . Parody ...... 848 R . Payola ...... 849 S. Practice of Law ...... 849 T. Record Industry ...... 840 U. Right of Publicity ...... 850 V. Ticket Scalping ...... 852 W. Trademarks and Unfair Competition ...... 852 II. Newsletter Articles ...... 854 A . Bankruptcy ...... 854 B. Contracts ...... 854 1. M anagem ent ...... 855 2. Personal Service ...... 855 3. Publishing ...... 855 4. Recording ...... 856 5. Rem edies ...... 857 C. Copyright and Related Rights ...... 858 1. Digital Sampling ...... 859 2. Digital Technology ...... 859 3. Litigation ...... 859 4. Public Performance-Licensing ...... 860 5. Sound Recordings ...... 861 6. Sound Recordings-Piracy ...... 861 D. Foreign, International, and Comparative Law ...... 861 1. A ustralia ...... 861 2. Canada ...... 861 1991] Music BIBLIOGRAPHY 813

3. France ...... 862 4. Germ any ...... 862 5. Japan ...... 862 6. Singapore ...... 862 7. United Kingdom ...... 862 E. Free Speech Issues ...... 863 F. Im migration ...... 863 G . Labor ...... 864 H. Management, Taxation, and Estate Planning ...... 864 I. Merchandising and Sponsorship ...... 866 J. Motion Picture Music ...... 867 K . M usic Trade ...... 868 L. M usic Videos ...... 868 M. Music-Legislation ...... 869 N. Music-Litigation...... 869 0. Practice of Law ...... 870 P. Record Industry ...... 873 Q. Right of Publicity ...... 870 R. Trademarks and Unfair Competition ...... 871 III. Newspaper Articles ...... 872 A . A ntitrust ...... 872 B. Bankruptcy ...... 872 C. Contracts ...... 872 1. Publishing ...... 872 2. Recording ...... 873 D. Copyright and Related Rights ...... 874 1. Digital Sampling ...... 874 2. Litigation ...... 875 3. Public Performance-Licensing ...... 876 4. Sound Recordings ...... 877 5. Sound Recordings-Piracy ...... 877 E. Foreign, International, and Comparative Law- C anada ...... 878 F. Free Speech Issues ...... 878 G. Labor ...... 879 H. Management, Taxation, and Estate Planning ...... 879 I. M otion Picture M usic ...... 879 J. M usic Videos ...... 880 K. Music-Legislation ...... 880 L. M usic- Litigation ...... 881 M . Parody ...... 881 N. Practice of Law ...... 882 814 HASTINGS CoMM/ENT L.J. [Vol. 13:811

0. Record Industry ...... 882 P. Right of Publicity ...... 883 Q. Trademarks and Unfair Competition ...... 883 IV . Books ...... 885 A . Bibliographies ...... 885 B. Career Guides ...... 885 C. Contracts ...... 886 D. Copyright and Related Rights ...... 886 1. European Communities ...... 887 2. International ...... 887 3. United Kingdom ...... 888 4. Sound Recordings ...... 888 E. Dictionaries and Directories ...... 889 F. Foreign, International, and Comparative Law ...... 890 G . Labor ...... 892 H. Merchandising and Sponsorship ...... 892 I. M usic Videos ...... 892 J. Practical and Legal Aspects of the Music Business .. 892 1. Australia ...... 897 2. Canada ...... 897 3. United Kingdom ...... 897 K. Record Industry ...... 897 L. Taxation ...... 899 M. Writing and Publishing ...... 899 V. Legal Institute Program Materials ...... 900 A. ABA Forum on the Entertainment and Sports Industries ...... 900 B. American Law Institute-American Bar Association Committee on Continuing Professional Education ... 903 C. M iscellaneous ...... 903 D. Practising Law Institute ...... 906 E. UCLA Entertainment Symposium ...... 909 F. University of Southern California Law Center Entertainment Law Institute ...... 909 VI. U.S. Government Publications ...... 912 A. Copyright and Related Rights ...... 912 B. Digital Audio Recording ...... 916 C. Economic Conditions and Labor ...... 919 D. Home Recording ...... 920 E. Jukeboxes ...... 921 F. Record Lyrics ...... 922 G. Record Rental ...... 923 1991] Music BIBLIOGRAPHY 815

H. Source Licensing ...... 925 I. T rade ...... 926 V II. Periodicals ...... 928 HASTINGS CoMM/ENT L.J. [Vol. 13:811

Authors' Notes There have been many new developments in the music industry since this bibliography was first compiled in 1981. In order to reflect these changes, some new headings and subheadings have been added, but the basic organization remains the same. Although the first version contained articles from law reviews and journals almost exclusively, this version contains separate sections for newsletter and newspaper articles as well. Although these might be con- sidered more transitory sources, the authors felt that they contain information of value to the practitioner. It seems appropriate in today's fast- paced world where information is transmitted instantaneously in "sound bits" that these short current articles be included. We did our best to assign accurate subject headings, but assigning subject headings is an art not a science; so the reader would best be ad- vised to check alternate headings when in doubt. For example, check "Antitrust" as well as "Copyright-Public Performance-Licensing" for articles on performing rights societies and blanket licensing. Although many articles treating foreign law jurisdictions are listed under "Foreign, International, and Comparative Law," also consult sections on specific topics. In some cases entries are repeated under two headings. We also did our best to assign headings consistently, but it was not always clear until we were well into our research that a certain area deserved its own subject heading; so it took numerous proofreadings to achieve accuracy and consistency. Many of the books included are written for the artist or songwriter, but contain useful information for the lawyer as well. Most entries in the "Books" section include annotations or notes of contents. Most of those that do not were integrated from the 1982-1984 supplement and no attempt was made to go back and add annotations. The "Legal Institute Program Materials" are organized by sponsoring organization and within each organization by date, latest materials first. Although some of these materials are no longer available from the sponsoring organizations, they may be available from other sources such as libraries or in some cases LEXIS or WESTLAW. Institutes on music law topics are regularly presented by the ABA Forum on the Entertain- ment and Sports Industries and by the Practising Law Institute, but neither organization stocks its program materials beyond the most current two to three years. Most of the program materials, for programs presented from 1974 onward by the University of Southern California Law Center Entertainment Law Institute, are available directly from that organization. There are also many good programs being presented by 1991] Music BiBLIOGRAPHY 817 state bar associations and a representative number of these are listed in the "Miscellaneous" section of "Legal Institute Program Materials." United States Government Publications are organized by topic, and chronologically within each topic. Most of the topics reflect legislation on specific issues, such as source licensing or home taping; so that the chronological listing comprises a legislative history in some cases. The last section includes titles of law reviews and newsletters which regularly carry articles on entertainment law. Full bibliographical information is given as an aid to ordering any of these publications. HASTINGS COMM/ENT L.J. [Vol. 13:811

I Law Review and Journal Articles A. Antitrust Blanket Licensing of Copyrights Does Not Violate Anti-Trust Laws. 5 Art and the Law 45 (Winter 1980). BMI Blanket License Survives Antitrust and Misuse Challenge from a Nightclub (Part 2) 5 Licensing Law and Business Report 20-22 (July 1982). (Broadcast Music, Inc. v. Moor-Law, Inc. (D. Del. 1981)). Brunsvold, Brian G. BMI Blanket License Survives Antitrust and Misuse Challengefrom a Nightclub (Part1). 4 Licensing Law and Business Report 215-216 (Apr. 1982). (Broadcast Music, Inc. v. Moor-Law, Inc. (D. Del. 1981)).

Friedman, Jerome B. Antitrust Law: FTC Overdubs Merger by Recording Giants. 6 Loyola Entertainment Law Journal 73-83 (Annual 1986).

Fox, Susan. Price Discrimination-Records[Zoslaw v. MCA Distributing Corp., 693 F.2d 870 (9th Cir. 1982 . aff'g and remanding,Zoslaw v. Columbia BroadcastingSystem, 533 F Supp. 540 (N.D. Cal 1980) cert. denied, 103 S.Ct. 1777 (1983)1 4 Loyola Entertainment Law Journal 175-182 (Annual 1984). (Entertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

Hauhart, Robert C. CBS v. ASCAP: The End of the "Bleak House" Blan- ket Licensing Litigation? 5 Glendale Law Review 1-34 (1983).

Kennedy, Mary Katherine. Blanket Licensing of Music Performing Rights: Possible Solutions to the Copyright-AntitrustConflict. 37 Van- derbilt Law Review 183-216 (No.1 1984).

Leete, Burt A. Marketing of Musical PerformanceRights and Antitrust: The Clash Continues. 21 American Business Law Journal 335-350 (1983).

Phelan, Marilyn E. The Continuing Battle with the Performing Rights Societies: The Per Se Rule, the Rule of Reason Standard, and Copy- right Misuse. 15 Texas Tech Law Review 349-387 (No.2 1984). 1991] Music BIBLIOGRAPHY

Riflind, Simon H. Music Copyrights and Antitrust: A Turbulent Court- ship. 4 Cardozo Arts & Entertainment Law Journal 1-18 (No.1 1985).

Timberg, Sigmund. ASCAP, BMI and the Television Broadcasters: A Postscript. 1985 International Business Lawyer 415-417 (Oct.).

Timberg, Sigmund. ASCAP, BMI and the Television Broadcasters: The Antitrust Future of Blanket Licenses. 1985 International Business Lawyer 57-63 (Feb.).

B. Bankruptcy Feldfeber, Grisel. Personal Service Contracts [In re Noonan (Bankr. S.D.N.Y. Feb. 22, 1982)1 4 Loyola Entertainment Law Journal 160 -162 (Annual 1984). (Entertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

Julis, Mitchell R. and Ricardo A. Baez. Bankruptcy: The Death of Re- cording Contracts. 2 Cardozo Arts & Entertainment Law Journal 189-223 (No.2 1983).

Warren, William L. Bankruptcy and Executory Contracts in the En- tertainment Business. 2 Journal of Copyright, Entertainment and Sports Law (Tennessee Bar Association) 105-120 (Oct. 1983). Wolas, Cherise M. Is the Debtor Left "Standing" When the Music Stops: Assumption and Rejection of Executory Recording Contracts by In- solvent Musicians. 9 Loyola Entertainment Law Journal 259-282 (Spring 1989).

C. Bibliographies Sanderson, Paul. Musician'sLegal Problems: A Select and Annotated Bib- liography of Canadian and Comparative Law-Related Materials. 11 Queen's Law Journal 90-133 (Fall 1985).

D. Contracts Bagehot, Richard. Star or Slave? Holly Johnson Revisited: Zang Tumb Tuum Records Ltd. v. Another & Johnson. 1 Entertainment Law Re- view 16-22 (No.1 1990).

Conrad, Mark. Wolf and Wilhelmina: Giving Entertainersa License to Breach Their Contracts. 17 Golden Gate University Law Review 169-196 (Summer 1987). HASTNGS COMM/ENT L.J. [Vol. 13:811

Farber, Donald C. Common-Sense Negotiation: How to Win Gracefully. 73 American Bar Association Journal 92(4) (Aug. 1987).

Gibb, T. A. Another Unfair Contract in the Music Industry. 6 Business Law Review 326-327 (No.11 1985).

Halloran, Mark. Film Composing Agreements: Business and Legal Con- cerns. 5 Loyola Entertainment Law Journal 1-59 (Annual 1985).

Jacques, Anne. 'FrankieGoes to Court: Entertainer'sContracts. 85 The Law Society's Gazette 35-36 (Nov. 16, 1988).

Kaplan, Adria G. and John M. Kernochan. Commissioning Orchestral Works: Sample Agreement and Commentary. 7 Art and the Law 293-308 (Spring 1983).

Martin, Richard Alan. Contract Law: New Media and Old Licenses. 6 Loyola Entertainment Law Journal 115-123 (Annual 1986). Mayorkas, Alejandro N. Explicit Drafting in Royalty Contracts [In Re Miller, 90 N.J 210, 447 A.2d 549 (1982)1 4 Loyola Entertainment Law Journal 162-168 (Annual 1984). (Entertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983). Shedd, Jacqueline Phillips. A Composer/Songwriter's Unilateral Termi- nation of an Exclusive Term Agreement: Implications for Copyright Ownership Under the Work for Hire Doctrine. 1986 Entertainment, Publishing and the Arts Handbook 199-262.

Stenzel, Paulette L. Musicians' Engagement Contracts. 65 Michigan Bar Journal 1096-1100 (No.11 1986).

Tatt, Jane. Music Publishing and Recording Contracts in Perspective. 9 European Intellectual Property Review 132-138 (May 1987).

Victoroff, Gregory T. Poetic Justice: California "Work Made for Hire" Laws Invite State Regulation of Parties to Copyright Contracts. 1990 Entertainment, Publishing and the Arts Handbook 133 -140. (Re- printed from 12 Hastings Communications and Entertainment Law Journal (CoMM/ENT) 453 (1990)).

Wasserman, Kenneth. Entertainment Contracts and the Lawyer's Secon- dary Professional Responsibility. 4 Glendale Law Review 47-55 (1979/1980). 1991) Music BIBLIOGRAPHY

1. Management Pinkos, Cynthia and Alan H. Bomser. The Musician's PersonalManage- ment Contract: Sample Contract and Commenta 10 Columbia-VLA Journal of Law & the Arts 245-275 (Winter 1986).

Turton, Julian and Lawrence Harrison. Management Agreements in the Music Industry. 1 Entertainment Law Review 9-15 (No.1 1990).

Yanover, Michael I. and Harvey G. Kotler. Artist/Management Agree- ments and the English Music Trilogy: Another British Invasion? 9 Loyola Entertainment Law Journal 211-235 (Spring 1989).

2. Personal Service Lucas, Kent G. EntertainmentLaw-Injunctive Relief in the Record In- dustry-CaliforniaCivil Code Section 3423 (5 Enforcement of Neg- ative Covenants in Contracts with Performers of Distinction in the Field-Motown Record Corp. v. Tina Marie Brockert, 160 Cal. App. 3d 123, 207 Cal. Rptr. 574 (1984) 7 Whittier Law Review 1059- 1083 (Fall 1985).

Woolson, David N. Enforcement of PersonalService Contracts in Califor- nia: The $6,000 Minimum Compensation Requirement-Teena Marie Has Motown Singing the Blues [Motown Record Corporationv. Brockert, 160 Cal. App. 3d 123, 207 Cal. Rptr. 574 (1984)1 5 Loyola Entertainment Law Journal 250-257 (Annual 1985).

3. Publishing Graubart, Jeffrey L. The Validity of the Songwriter-Music Publisher Agreement (or Will America Follow England's Lead?). 20 Beverly Hills Bar Association Journal 201-206 (Fall 1986).

Schuster, Gary M. Songwriters and Music Publishers:Partners in Rhyme? 22 Beverly Hills Bar Association Journal 265-286 (Fall 1988).

4. Recording Blaufarb, Jonathan. Legislative Developments Affecting the Midterm Re- negotiation of Recording Contracts Under California Labor Code Section 2855. 1986 Entertainment, Publishing and the Arts Hand- book 175-198.

Castle, Christian L. An Introduction to Negotiating Record Producer Agreements. 1988 Entertainment, Publishing and the Arts Hand- book 139-152. HASTINGS COMM/ENT L.J. [Vol. 13:811

Gertz, Ronald H. and Gary D. Culpepper. Negotiating Sound Track Al- bum Agreements. 10 Los Angeles Lawyer 47-56 (No.3 1987). (Re- printed in 1988 Entertainment, Publishing and the Arts Handbook 191-204).

Hertz, Howard and Shari Friedman Lesnick. Record Contract Negotia- tion in the 80's. 65 Michigan Bar Journal 1116-1119 (No.11 1986).

5. Remedies

Burnett, Harold. Injunctive Relief in Support of EntertainmentContracts. 1985 International Business Lawyer 391-398 (Oct.).

Gordon, Robert L. ConsequentialDamages and Entertainers' Contracts: The Buck Stops Where ? 5 Cardozo Arts & Entertainment Law Jour- nal 445-495 (No.2 1986).

Light, Jeffrey B. The California Injunction Statute and the Music Indus- try: What Price Injunctive Relief? 7 Art and the Law 141-176 (Spring 1982).

Woollcombe, J. H. Fairness Versus Certainty-Pop Goes the Music Con- tract. 9 European Intellectual Property Review 187-190 (July 1987).

E. Copyright and Related Rights

Abrams, Howard B. Who's Sorry Now? Termination Rights and the De- rivative Works Exception. 1985 Entertainment, Publishing and the Arts Handbook 95-153.

Adams, William V. Avoiding the Use of CopyrightedMusic in Audiovisual Works. The Army Lawyer 43-44 (Aug. 1988).

Bach, Scott L. Music Recording, Publishing, and Compulsory Licenses: Toward a Consistent Copyright Law. 14 Hofstra Law Review 379- 401 (Winter 1986).

Biederman, Donald. CurrentIssues in Music Publishing. 1988 Entertain- ment, Publishing and the Arts Handbook 123 -136.

Bilker, Paul S. The Showdown Continues at the Circle C Ranch: Non- Preemption of State Copyright Protectionfor Unfixed Improvisational Works. 18 Southwestern University Law Review 415-440 (No.3 1989). 19911 Music BIBLIOGRAPHY

Borchard, William M. Copyright Consideration&4 Communications and the Law 25-32 (Summer 1982). (From: Problems Unique to the En- tertainmentPersonality: A Forum Sponsored by the Association of the Bar of the City of New York).

Braithwaite, William J. From Revolution to Constitution: Copyright, Compulsory Licenses and the ParodiedSong. 18 University of British Columbia Law Review 35-68 (Winter 1984).

Deutsch, Alvin. Politics and Poker-Music Faces the Odds: A Ten Year Retrospective. 34 Journal of the Copyright Society of the U.S.A. 38- 52 (No.1 1986).

Dieguez, Richard P. and Tom Mulhern. Copyright Basics: Protect Your Rights, Protect Your Future. 22 Guitar Player 82-86 (No.8 1988).

Dwight, George II, Peter Levitan, and Laura A. DeFelice. PublicationIs General if Copies Are Available to All Who Are Interested (Current Developments) 8 Art and the Law 435-437 (Winter 1984).

Elmer, Michael C. and John F. Hornick. Supreme Court Gives Plain Meaning Interpretation to Copyright Act's Derivative Works Excep- tion& 9 Licensing Law and Business Report 79-82 (No. 1 1986). (this Article first appeared in 7 Legal Times 33, Apr. 22, 1985).

Gilliam, Annette. Copyright: Who's Sorry Now? 6 Loyola Entertainment Law Journal 125-145 (Annual 1986).

Greenleaf, Graham. Technology-Driven Copyright. 62 The Australian Law Journal 164-167 (No.2 1988).

Havlicek, Franklin J. and Clark J. Kelso. The Rights of Composers and Lyricists: Before and After Bernstein. 8 Art and the Law 439-456 (Spring 1984). (Reprinted in 16 The Journal of Arts Management and Law 77-93 (Summer 1986)).

Kernochan, John M. The Distribution Right in the United States of America: Review and Reflections. 42 Vanderbilt Law Review 1407- 1438 (Oct. 1989).

Koeberle, Brian E. Play It Again Samantha?Another Argument for U.S. Adherence to Article 6bis of the Berne Convention. 27 Duquesne Law Review 609-624 (Spring 1989). HASTINGS COMM/FNT L.J. [Vol. 13:811

Lange, David. Recognizing the Public Domain. 44 Law and Contempo- rary Problems 147-178 (Autumn 1981). (Issues in Entertainment and Sports Law: A Symposium).

Litman, Jessica. Copyright in the Stage Direction of a Broadway Musical. 7 Art and the Law 309-335 (Spring 1983).

McNamara, Diane C.H. Preserving the Creator'sRight of Authorship to Works Made for Hire. 1990 Entertainment, Publishing and the Arts Handbook 141-155. (Reprinted from 7 The Entertainment and Sports Lawyer (Spring/Summer 1989)).

Marton, Victor W. Copyright in the 1980's: Fifth Anniversary of the Re- vised Law. 30 Federal Bar News and Journal 39-42 (Jan. 1983). (Special Issue: Law and the Arts).

Mosher, Janet E. 20th Century Music: The Impoverishment in Copyright Law of a Strategy of Forms. 5 Intellectual Property Journal 51-70 (No.1 1989).

Newmark, Linda A. Dialing for Dollars: The Use of Music in 900- Number Telephone Programming. 1990 Entertainment, Publishing and the Arts Handbook 213-219.

Shaw, Warren. Copyrighting Improvised Music. 32 Copyright Law Sym- posium (ASCAP) 109-131 (Annual 1986). (National Fourth Prize, 1982, Nathan Burkan Memorial Competition).

Smith, Ronald P. Arrangements and Editions of Public Domain Music: Originality ina Finite System. 34 Case Western Reserve Law Review 104-143 (No.1 1983).

Sookman, Barry B. Computer-Assisted Creation of Works Protected by Copyright. 5 Intellectual Property Journal 165-186 (No.2 1990).

Strenger, Lisa Aimee. Copyright Law-a Judicial Circumscription of Rights Under the "Derivative Works Exception," Section 304(C)(6)(a) of the Copyright Act of 1976: Who's Sorry Now?- Harry Fox Agency, Inc. v. Mills Music, Inc., 720 F2d 733 (2d Cir. 1983 sub nom Mills Music, Inc. v. Marie Snyder, 104 S.Ct. 1676 (1984). 6 Whittier Law Review 923 -945 (Summer 1984).

Stroup, Richard L. A PracticalGuide to the Protection of Artists Through Copyright, Trade Secret, Patent, and Trademark Law. 3 1991] Music BIBLIOGRAPHY

COMM/ENT, A Journal of Communications and Entertainment Law 189-225 (1980/1981).

Toro Lopez, Jose E. Los Compositores de Musica y los Derechos de Autor en Puerto Rico. 20 Revista de Derecho Puertorriqueno 357-394 (No.80 1981).

Turkewitz, Neil. Authors' Rights are Dead. 38 Journal of the Copyright Society of the U.S.A. 41-45 (Fall 1990).

Vaver, David. Dramatic and Musical Reproductions and Performances: Copyright and Performers'Rights and Their Implicationsfor Educa- tors. 6 Intellectual Property Journal 239-263 (June 1991).

Verbit, Larry E. Moral Rights and Section 43 (a) of the Lanham Act: Oasis or Illusion? 9 COMM/ENT, Hastings Journal of Communica- tions and Entertainment Law 383 -421 (Spring 1987).

Woody, Robert H. Harmony as the Basis for Music Copyright. 20 Pub- lishing, Entertainment, Advertising and Allied Fields Law Quar- terly 389- 407 (Spring 1982).

1. Digital Sampling

Am, Thomas D. Digital Sampling and Signature Sound: Protection Under Copyright and Non-Copyright Law. 6 University of Miami Entertainment & Sports Law Review 61-86 (Spring 1989).

Bently, Lionel. Sampling and Copyright: Is the Law on the Right Track? (Part1). 1989 Journal of Business Law 113-125 (Mar.).

Bently, Lionel. Sampling and Copyright: Is the Law on the Right Track? (Part2) 1989 Journal of Business Law 405-413 (Sept.).

Broussard, Whitney C. Current and Suggested Business Practicesfor the Licensing of DigitalSamples. 11 Loyola Entertainment Law Journal 479-503 (No.2 1991).

Byram, Tamara J. DigitalSound Sampling and a FederalRight of Public- ity: Is It Live or Is It Macintosh? 10 Computer/Law Journal 365-392 (Oct. 1990).

Dupler, Steven. Digital Sampling: Is It Theft? 98 Billboard 1(2) (Aug. 2 1986). HASTINGS COMM/ENT L.J. [Vol. 13:811

Fishman, Lori D. Your Sound or Mine?: The DigitalSampling Dilemma. 4 St. John's Journal of Legal Commentary 205-223 (Fall 1989). Johnson, E. Scott. Protecting DistinctiveSounds: The Challenge of Digital Sampling. 1988 Entertainment, Publishing and the Arts Handbook 153 -190. Kirsch, Jonathan L. Whose Music Is It? Lift a Riff and Someone Sues Next You're Singing the Rappin' Blues. 9 California Lawyer 28(1) (No.9 1989). McGiverin, Bruce J. Digital Sound Sampling, Copyright and Publicity: Protecting Against the Electronic Appropriation of Sounds. 87 Co- lumbia Law Review 1723-1745 (No.8 1987). McGraw, Molly. Sound Sampling Protection and Infringement in To- day's Music Industry. 4 High Technology Law Journal 147-169 (Spring 1989). Moglovkin, Thomas C. Original Digital: No More Free Samples. 64 Southern California Law Review 135-174 (Nov. 1990). Newton, Jeffrey S. Digital Sampling: The Copyright Considerationsof a New Technological Use of Musical Performance. 11 Hastings Com- munications and Entertainment Law Journal (CoMM/ENT) 671- 713 (Summer 1989). Simpson, Shane. Two Aspects of Sampling in the Music Industry. 63 The Australian Law Journal 771-772 (No.11 1989). Tackaberry, D. Paul. The DigitalSound Sampler: Weapon of the Techno- logical Pirate or Palette of the Modern Artist. 1 Entertainment Law Review 87-95 (No.3 1990). Thom, Juan Carlos. DigitalSampling: Old-fashionedPiracy Dressed up in Sleek New Technology. 8 Loyola Entertainment Law Journal 297- 336 (Spring 1988). Wells, Ronald Mark. You Can't Always Get What You Want but Digital Sampling Can Get What You Need. 22 Akron Law Review 691-706 (Spring 1989). 1991] Music BIBLIOGRAPHY

2. Digital Technology Baddeley, Gary. DAT at the Crossroads. 2 Entertainment Law Review 33-39 (No.2 1991).

Davies, Gillian. A Technical Solution to Private Copying: The Case of Digital Audio Tape. 9 European Intellectual Property Review 155- 158 (June 1987).

Ehlke, Therese A. Disc, DA T and Fair Use: Time to Reconsider? 25 Cali- fornia Western Law Review 97-121 (No.1 1988/1989).

Elrifi, Ivor. What's DAT-Amstrad Revisited: Canadian Copyright Law and DigitalAudio Tape Players. 14 Canadian Business Law Journal 405-422 (No.4 1988).

Fleischmann, Eric. The Impact of Digital Technology on Copyright Law. 23 New England Law Review 45-65 (Summer 1988).

Jerrard, Donald G. The Casefor DigitalAudio Tape: An Opportunity, Not a Problem. 9 European Intellectual Property Review 279-283 (Oct. 1987).

Kawamura, Taro J. DigitalAudio Tape Technology: A Formidable Chal- lenge to the American Copyright System. 4 The American University Journal of International Law and Policy 409- 442 (Spring 1989).

Leland, Clyde. Is It Live, or Is DA T Dead? 7 California Lawyer 12-13 (No.10 1987).

Leonard, Peter G. New Communications Technologies and the Music In- dustry in Australia. 2 Entertainment Law Review 73-78 (No.3 1991).

Page, Todd. Digital Audio Tape Machines: New Technology or Further Erosion of Copyright Protection? 77 Kentucky Law Journal 441-462 (No.2 1989).

Plumleigh, Michael. DigitalAudio Tape: New Fuel Stokes the Smoldering Home Taping Fire. 37 UCLA Law Review 733 -776 (No.4 1990).

Reville, N. J. Copyright: DAT Data. 85 The Law Society's Gazette 10(2) (Jan. 13, 1988).

Reville, N. J. Copyright: DA T Data Update. 85 The Law Society's Ga- zette 21(2) (Sept. 7, 1988). HASTINGS COMM/ENT L.J. (Vol. 13:811

Weimer, Douglas Reid. DigitalAudio Recording Technology: Challenges to American Copyright Law. 22 St. Mary's Law Journal 455-492 (No.2 1990).

3. Litigation Arnold, Richard. Towards a Performers' Copyright: An Analysis of Rickless v. United Artists. 9 European Intellectual Property Review 97-102 (Apr. 1987).

Blakey, Elizabeth. Criminal Copyright Infringement: Music PiratesDon't Sing the "JailhouseRock" When They Stealfrom the King. 7 Loyola Entertainment Law Journal 417-438 (Spring 1987).

Bogdonoff, Michael A. Copyright Infringement-Use of Song "Cunnilin- gus Champion of Company C" Not a Fair Use of Song "Boogie Woogie Bugle Boy of Company B." MCA, Inc. v. Wilson, 677 F.2d 180 (2d Cir. 1981). 13 Rutgers Law Journal 839-848 (1982).

Brent, Debra Presti. The Successful Musical Copyright Infringement Suit: The Impossible Dream. 7 University of Miami Entertainment & Sports Law Review 229-253 (Spring 1990).

Brown, Isobel. Sounds Familiar?The 'Chariotsof Fire' Case. 9 European Intellectual Property Review 244-246 (Aug. 1987).

Crowe, Carolyn. The Song You Write May Not Be Your Ownl Proving Musical Copyright Infringement: A Review of Gondos v. Hardy; Gondos v. Toth. 1 Intellectual Property Journal 29-64 (No.1 1984).

Der Manuelian, Michael. The Role of the Expert Witness in Music Copy- right Infringement Cases. 57 Fordham Law Review 127-147 (No.1 1988).

Francis, Michelle V. Musical Copyright Infringement: The Replacement of Arnstein v. Porter-A More Comprehensive Use of Expert Testi- mony and the Implementation of an "ActualAudience" Test. 17 Pep- perdine Law Review 493 -521 (No.2 1990).

Frank, Susan B. A "Handy Man's" Guide to Copyright Infringement: Standing, Public Domain and Registration. 8 Loyola Entertainment Law Journal 169-183 (No.1 1988).

Giannini, Maura. The Substantial Similarity Test and Its Use in Deter- mining Copyright Infringement Through Digital Sampling. 16 1991] Music BIBLIOGRAPHY

Rutgers Computer and Technology Law Journal 509-530 (Winter 1990).

Jacover, Jerold A. and Marvin E. Aspen. "The Song Is Mine!" Impres- sions of a Plagiarism Trial. 1 CBA Record 20-27 (No.1 1987). (In- cludes short article "Star Gazing from the Bench, " by Hon. Marvin E. Aspen).

Keyt, Aaron. An Improved Frameworkfor Music PlagiarismLitigation. 76 California Law Review 421-464 (No.2 1988).

Kimbell, Linda. Copyright Infringement: Temporal Remoteness Is No De- fense [ABKO Music, Inc. v. Harrisongs Music, Ltd., 722 F.2d 988 (2d Cir. 1983)1 5 Loyola Entertainment Law Journal 245-249 (An- nual 1985).

Leavens, Thomas R. In Defense of the Unauthorized Use: Recent Devel- opments in Defending Copyright Infringement. 44 Law and Contem- porary Problems 3-26 (Autumn 1981). (Current Issues in Entertainment and Sports Law: A Symposium).

May, David. "So Long as Time Is Music": When Musical Compositions Are Substantially Similar. 60 Southern California Law Review 785- 813 (No.3 1987). (Reprinted in 1987 Entertainment, Publishing and the Arts Handbook 313-340). Metzger, Raphael. Name That Tune: A Proposalfor an Intrinsic Test of Musical Plagiarism. 5 Loyola Entertainment Law Journal 61-109 (Annual 1985). (National Fourth Prize, 1984, Nathan Burkan Me- morial Competition. Also published in 34 Copyright Law Sympo- sium (ASCAP) 139-201 (Summer 1987)).

Mitchell, Gregory. Unstoppable Bootleggers. 133 New Law Journal 527- 529 (No.6107 1983).

Osterberg, Robert C. Striking Similarity and the Attempt to Prove Access and Copying in Music Plagiarism Cases. 2 Journal of Copyright, En- tertainment and Sports Law (Tennessee Bar Association) 85-103 (Oct. 1983).

Purvis, lain. CBS Songs Ltd. v. Amstrad Consumer Electronics PLC. 10 European Intellectual Property Review 345-346 (Nov. 1988).

Sidle, Kenneth I. Fantasy Records v. John Fogerty. 13 Los Angeles Law- yer 42(8) (No.2 1990). HASTINGS COMM/ENT L.J. (Vol. 13:811

Sipos, Thomas M. Warning All Authorsl Your "Style" May Infringe Your Own Work: Authors Can Benefit Through Less Copyright Protection. 9 Loyola Entertainment Law Journal 359-380 (Spring 1989).

Smokler, Sandra K. Copyright Infringement: Proof of Access Through Striking Similarity. 1 The Entertainment & Sports Lawyer 139-144 (Spring 1984).

Stone, P. A. Civil Remedies Against Bootlegging. 16 Bracton Law Journal 16-24 (1983).

Weir, Tony. Liability for Knowingly FacilitatingMass Breaches of Copy- right. 47 Cambridge Law Journal 348-350 (No.3 1988).

4. Public Performance Becker, William W. and Harold C. Petrowitz. Play It Again Sam, But Don't Forget to Pay the Fee-BroadcastMusic: Copyrights and Price- Fixing. 30 Federal Bar News & Journal 26-36 (1983).

Cash, Robert. Sailor Music: Exposing the Gaps in 17 U.S.C. Sec. 110 (5 9 Rutgers Computer and Technology Law Journal 133-163 (1982).

Fujitani, Jay M. Controlling the Market Power of Performing Rights Soci- eties: An Administrative Substitute for Antitrust Regulation. 72 Cali- fornia Law Review 103-137 (No.1 1984).

Greco, Lisa. The Performance Pirate and the Diva: Can Federal Law Come to the Rescue? 7 Art and the Law 177-192 (Spring 1982).

Meltzer, Amy R. A New Approach to an Entertainer'sRight of Perform- ance. 59 Washington University Law Quarterly 1269-1303 (1982).

Misner, Laura A. Copyright Liabilityfor Performancesof Musical Works: Use of Background Radio Music in the Aftermath of Twentieth Cen- tury Music Corp. v. Aiken [95 S. Ct. 20401 43 Washington and Lee Law Review 245-263 (Winter 1986).

Scorese, Joseph P. Performing Broadway Music: The Demon Grand Rights Trap. 13 Columbia-VLA Journal of Law & the Arts 261-289 (Winter 1989).

Scorese, Joseph P. Performing Broadway Music: The Demon Grand Rights Trap-An Addendum. 14 Columbia-VLA Journal of Law & the Arts 123-124 (Fall 1989). 1991] Music BIBLIOGRAPHY

Serritella, James E. Performanceof Copyrighted Church Music. 27 Catho- lic Lawyer 205-207 (Summer 1982). (Transcript of speech given at the 17th Annual Meeting of Diocesan Attorneys).

Shaw, Josephine. Competition and Industrial Property: Music to their Ears. 12 European Intellectual Property Review 68-73 (Feb. 1990).

Siegel, Richard J. Non-Profit Musical PerformanceSocieties and the 1976 Copyright Act: Selected Problems and Possible Solutions. 2 Northern Illinois University Law Review 449-470 (Spring 1982).

Somervill, Cynthia B. The Use of an Altered Song in Amateur Musical Productionsas Copyright Infringement. 3 Cardozo Arts & Entertain- ment Law Journal 319-342 (No.2 1984).

Thorne, Robert. The Section 110(5) Exemption for Radio Play in Com- mercial Establishments:A Narrowly Construed Music Copyright Ha- ven. 1987 Entertainment, Publishing and the Arts Handbook 287- 312.

Urwin, Gary L. Paying the Piper: PerformanceRights in Musical Record- ings. 5 Communications and the Law 3-57 (1983).

5. Public Performance-Licensing

Balekjian, Arpie. Navigating Public Access and Owner Control on the Rough Waters of PopularMusic Copyright Law. 8 Loyola Entertain- ment Law Journal 369-390 (Spring 1988).

Becker, William W. and Harold C. Petrowitz. Broadcast Music: Copy- rights and Price Fixing. 30 Federal Bar News & Journal 29-36 (Jan. 1983). (Special Issue: Law and the Arts).

Berg, Randy. Jukebox Copyright Royalty Fee Held Lawful and Reason- able [Amusement and Music OperatorsAssociation v. Copyright Roy- alty Tribunal, 676 F.2d 1144, cert. denied, 103 S.Ct. 210 (1982)1 4 Loyola Entertainment Law Journal 155-160 (Annual 1984). (En- tertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

Boucher, Frederick C. Blanket Music Licensing and Local Television: A HistoricalAccident in Need of Reform. 44 Washington and Lee Law Review 1157-1179 (Fall 1987). HASTINGS COMM/ENT L.J. [Vol. 13:811

Brabee, Jeffrey J. Music That Sells: A Behind the Scenes Look at Advertis- ing Music and Broadcast Performance Royalties. 1987 Entertain- ment, Publishing and the Arts Handbook 341-368.

Bradford, Marilee. From Tin Pan Alley to Title 17: DistinguishingDra- matic from Nondramatic Musical PerformanceRights. 7 Loyola En- tertainment Law Journal 45-78 (No.1 1987).

Cassler, Robert. Copyright Compulsory Licenses-Are They Coming or Going? 37 Journal of the Copyright Society of the U.S.A. 231-261 (Jan. 1990).

Erlanger, Robert K. Section 116 of the 1976 Copyright Revision Act: Jukebox Operatorsand Copyright Owners Juke It out over Royalties. 3 Cardozo Arts & Entertainment Law Journal 343-375 (No.2 1984).

Johnson, E. Scott. Considering the Source-Licensing Threat to Performing Rights in Copyrights. 6 University of Miami Entertainment & Sports Law Review 1-33 (Spring 1989).

Karr, Robin. Blanket Licensing of Music Performing Rights in Syndi- cated Television: It's Time to Change the System. 9 Whittier Law Review 331-362 (No.2 1987).

Kernochan, John M. Music Performing Rights Organizations in the United States of America: Special Characteristics,Restraints, and Public Attitudes. 10 Columbia-VLA Journal of Law & the Arts 333 - 379 (Spring 1986).

Korman, Bernard and Fred Koenigsberg. Performing Rights in Music and Performing Rights Societies. 33 Journal of the Copyright Society of the U.S.A. 332-367 (No.4 1986).

Lee, Robert S. An Economic Analysis of Compulsory Licensing in Copy- right Law. 5 Western New England Law Review 203 -226 (1982).

Marcovitch, Sid. On Aiken, Performance and the 110 (5) Exemption: Is There a Gap in the Court's Thinking? 11 Western State University Law Review 129-136 (Fall 1983).

Martin, Scott M. The Berne Convention and the U.S. Compulsory License for Jukeboxes: Why the Song Could Not Remain the Same. 37 Jour- nal of the Copyright Society of the U.S.A. 262-329 (Jan. 1990). 1991) Music BIBLIOGRAPHY

Martino, Tony. Performing Rights: Are There Realistic Alternatives to the Blanket License? 9 Journal of Media Law & Practice 20-23 (Mar. 1988).

McLeod, Linda. H.R. 1195 Source Licensing: A Legislative Swan Song to the Blanket License. 67 Oregon Law Review 735-769 (No.3 1988).

Melichar, Ferdinand. Deductions Made by Collecting Societiesfor Social and Cultural Purposes in the Light of InternationalCopyright Law. 22 IIC: International Review of Industrial Property and Copyright Law 47-60 (Feb. 1991).

Sobel, Lionel S. CBS Tests Its Clout: Network Asks Producersto Get "Di- rect" Music Performance Licenses from Composer and Publishers: ASCAP and BMI Blanket Licenses May Not Be Renewed. 1984 En- tertainment, Publishing and the Arts Handbook 209-226. (Re- printed from Entertainment Law Reporter, June 1983).

Stager, Susan. Musical Performing Rights in the Television Industry: Has the Blanket License Finally Seen Its Demise? 14 Southwestern Uni- versity Law Review 569-589 (Summer 1984).

Stocks, Timothy E. The Performing Right Tribunal:Protecting Musicians with a Reasonable Royalty. 136 New Law Journal 195 -197 (No.6243 1986).

Thorne, Robert. Compulsory Licensing: The Music Makers as Money Makers. 5 Los Angeles Lawyer 11(9) (No.1 1982). (Reprinted in 1985 Entertainment, Publishing and the Arts Handbook 281-294).

Wise, Marilyn S. Trials of the Tribunal: Toward a Fair Distribution of Jukebox Royalties. 16 Southwestern University Law Review 757- 785 (No.4 1986).

6. Sound Recordings

Benjamin, Linda. Tuning Up the Copyright Act: Substantial Similarity and Sound Recording Protections. 73 Minnesota Law Review 1175- 1203 (No.4 1989).

Biederman, Donald. Breach of Contract or Copyright Infringement: Walking the Line. 1 Journal of Copyright, Entertainment and Sports Law (Tennessee Bar Association) 135-143 (Oct. 1982). HASTINGS COMM/ENT L.J. [Vol. 13:811

Colby, Richard. The First Sale Doctrine: The Defense That Never Was? 1985 Entertainment, Publishing and the Arts Handbook 175-205.

Duggan, James Thomas. A Cause of Action for Simulation of Sound Re- cordings? Yes!: Reflections on the 1976 Copyright Act. 38 Rutgers Law Review 139-163 (Fall 1985).

Fein, Jonathan. Home Taping of Sound Recordings: Infringement or Fair Use? 56 Southern California Law Review 647-668 (1983).

Greenman, Frederick F., Jr. and Alvin Deutsch. The Copyright Royalty Tribunal and the Statutory Mechanical Royalty: History and Pros- pect. 1 Cardozo Arts & Entertainment Law Journal 1-90 (1982).

Hayes, H. Craig. Performance Rights in Sound Recordings: How Far to the Horizon? 27 Copyright Law Symposium (ASCAP) 113-153 (1982). (National Third Prize, Nathan Burkan Memorial Competition).

Hayhurst, W. L. Compo Company Limited v. Blue Crest Music Inc., et al (1980) 1 S.C.R. 357. 31 University of New Brunswick Law Journal 242-249 (Jan. 1982).

Horowitz, David H. The Record Rental Amendment of 1984: A Case Study in the Effort to Adapt Copyright Law to New Technology. 12 Columbia-VLA Journal of Law & the Arts 31-71 (Autumn 1987).

Horsnell, Christian A. Works Made for Hire in Sound Recordings Under the Copyright Act of 1976. 2 Journal of Copyright, Entertainment and Sports Law (Tennessee Bar Association) 61-84 (Oct. 1983).

Khan, Nicholas. The White Paper Proposals on the Private Copying of Sound Recordings. 136 New Law Journal 602-604 (No.6260 1986).

Kolton, Jeffrey. The "First Sale" Doctrine and the Record Rental Di- lemma. 1984 Entertainment, Publishing and the Arts Handbook 185-208.

McCarty, Lisbeth L. Copyright: Commercial Use of Sound Recordings Amendment. 36 Oklahoma Law Review 337-361 (Spring 1983).

McFarlane, Gavin. Illegal Tape Recording: Towards a Solution? 132 So- licitor's Journal 1076-1077 (July 29, 1988). 1991] Music BIBLIOGRAPHY

McFarlane, Gavin. The Legality of Selling Copying Equipment: The Am- strad Case. 130 Solicitor's Journal 494-495 (No.27 1986).

Nimmer, Melville B. Copyright Liabilityfor Audio Home Recording: Dis- pelling the Betamax Myth. 68 Virginia Law Review 1505-1534 (1982).

Prevost, Jean-Victor A. Copyright Problemsin Mastermixes. 9 Communi- cations and the Law 3-30 (No.4 1987).

Sapirstein, Jonathan C. After the First Sale: The Commercial Resale and Rental of Phonorecords. 11 Performing Arts Review 70-93 (Jan. 1981).

Staines, Anne. Putting the Record Straight.49 Modern Law Review 385- 388 (No.3 1986).

Sulyok, Teresa E. The Home Audio Recording Act: An InappropriateRe- sponse to the Home Taping Question. 15 Fordham Urban Law Jour- nal 435-479 (No.2 1986/1987).

Tettenborn, A. M. Records: Who Authorizes Taping at Home? 3 The Company Lawyer 82-83 (No.2 1982).

7 Sound Recordings-Piracy Carty, H. Reaping What You Have Not Sown: Bootlegging and the Rec- ord Industry. The Conveyancer and Property Lawyer 451-464 (Nov./Dec. 1983).

Feingold, Stephen W. Parallel Importing Under the Copyright Act of 1976. 32 Journal of the Copyright Society of the U.S.A. 211-245 (No.3 1985).

Fine, Frank L. Record Piracy and Modern Problems of Innocent Copy- right Infringement. 8 Art and the Law 69-93 (Summer 1983).

Fine, Frank L. Record Piracyand Modern Problems of Innocent Infringe- ment: A ComparativeAnalysis of United States and British Copyright Law. 21 Santa Clara Law Review 357-393 (Spring 1981).

Gawade, Jeremy A. T. The Anton Piller Order: Injunctive Relief and Ex Parte Discovery Against Pirates in the English Courts. 1 Journal of Copyright, Entertainment and Sports Law (Tennessee Bar Associa- tion) 145-165 (No.2 1982). HASTINGS COMM/ENT L.J. [Vol. 13:811

Mowrey, Robert T. The Rise and Fall of Record Piracy. 27 Copyright Law Symposium (ASCAP) 155-206 (Jan. 1982). (National Fourth Prize, Nathan Burkan Memorial Competition).

Samuels, Alec and Penelope Pearce. Video and Audio Piracy. 127 Solici- tors Journal 543 -545 (1983).

Tyson, William C. and Robert P. Parker. Parallel Importation of Copy- righted Phonorecords. 10 North Carolina Journal of International Law and Commercial Regulation 397-422 (Spring 1985).

White, Charles. Piracy Pays-and Pays Well. 7 Update (ABA) 6(7) (1983).

F. Foreign, International, and Comparative Law Dillenz, Walter. Functions and Recent Developments of Continental Copyright Societies. 12 European Intellectual Property Review 191- 195 (June 1990).

Fine, Frank L. Record Piracyand Modern Problems of Innocent Infringe- ment: A ComparativeAnalysis of United States and British Copyright Law. 21 Santa Clara Law Review 357-393 (Spring 1981).

Greenberg, Gary A. The Plight of the American Musician: A Study of Comparative Copyright Law and Proposed Performers' Protection Act. 6 Loyola Entertainment Law Journal 31-51 (Annual 1986).

Korah, Valentine. GVL-Refusal to Supply Foreigners Infringes Article 86. 7 European Law Review 221-226 (1982).

Maatta, John D. and Lorin Brennan. Comments on International Video Piracy: A Review of the Problem and Some PotentialSolutions. 10 Hastings Communications and Entertainment Law Journal (CoMM/ENT) 1081-1087 (Summer 1988). (Symposium Issue: Piracy and Gray Market Imports: Knocking Out the Knock-offs).

Peer, Ralph, II. The Mechanical Right: A Pragmatic Perspective-The 21st Jean Geiringer Memorial Lecture on International Copyright Law. 31 Journal of the Copyright Society of the U.S.A. 409-426 (No.4 1984).

Scott, Michael D. Compulsory Licensing of Intellectual Property in Inter- national Transactions. 10 European Intellectual Property Review 319-325 (Nov. 1988). 1991] Music BIBLIOGRAPHY

Sloane, Owen J. and Robert Thorne. International Aspects of United States Copyright Law: The Music Business. 18 Beverly Hills Bar As- sociation Journal 182-192 (Summer 1984). (Also published in 1986 Entertainment, Publishing and the Arts Handbook 69-84).

Spector, David M. Implications of United States Adherence to the Berne Convention. 11 European Intellectual Property Review 162-169 (May 1989).

Tackaberry, Paul. Look What They Done to My Song, Ma: The Song- writer's Moral Right of Integrity in Canadaand the United States. 11 European Intellectual Property Review 356-371 (Oct. 1989).

Teller, Bonnie. Toward Better Protection of Performers in the United States: A Comparative Look at Performers' Rights in the United States, Under the Rome Convention and in France. 28 Columbia Journal of Transnational Law 775-800 (No.3 1990).

Vauer, David. Dramatic and Musical Reproduction and Performances: Copyright and Performers' Rights and Their Implicationsfor Educa- tors. 6 Intellectual Property Journal 239-263 (June 1991).

1. Australia Cross, Warren. The Australian Music Industry: A Legal Perspective. 1987 Entertainment, Publishing and the Arts Handbook 401-407.

Ellinson, Dean. Intellectual Property Protection for Performers. 63 The Law Institute Journal 838(3) (Sept. 1989).

Serventy, Natasha. The Protection of Performers' Right in Australia? 7 The University of New South Wales Law Journal 175-187 (Special Issue 1984).

2. Canada Dansby, Robert E. Liability and Compensation in the Sale of Quasi-Pub- lic Goods. 8 Research in Law and Economics 175-179 (Jan. 1986). (Canadian copyright implications of audio home recording).

Himelfarb, David. A Canadian Perspective on the Protection of an Indi- vidual's Personalityfrom Commercial Exploitation. 1985 Entertain- ment, Publishing and the Arts Handbook 263 -277.

Keon, Jim. Audio Home Recording: Canadian Copyright Implications. 8 Research in Law and Economics 157-173 (Jan. 1986). HASTINGS COMM/ENT L.J. [Vol. 13:811

Spurgeon, C. Paul. Changes to Canada'sCopyright Act Here at Last. The Canadian Composer 12(2) (June 1988).

Spurgeon, C. Paul. Copyright: Titles, Ideas and Licences. The Canadian Composer 36(4) (Dec. 1984).

Spurgeon, C. Paul. Your Musical Work- Understanding the Rights Inher- ent in a Copyright. The Canadian Composer 24(4) (Nov. 1984).

3. European Communities Alexander, Willy. Case 125-78, GEMA v. Commission of the European Communities: Application Under Article 175 of the EEC Treaty. 17 Common Market Law Review 451-456 (No.3 1980).

Davies, Gillian. EC Green Paper: A View from the Music Industry. 5 Computer Law & Practice 59-64 (No.2 1988). (Special Issue: The EC Green Paper on Copyright and the Challenge of Technology).

Deringer, Arved. EEC and Antitrust Problems with Respect to Copyright and Performing Rights Licensing Societies. International Business Lawyer 65-70 (Feb. 1985).

Mestmacker, Ernst-Joachim. Performing Rights Organizations in the Common Market: Comparative Observations. International Business Lawyer 71-75 (Feb. 1985).

Morris, Tony. All For One and One for All: The Licensing and Distribu- tion of Copyright Recordings in the Single European Market. 2 En- tertainment Law Review 50-53 (No.2 1991).

Moxon, Richard L. Piracyand Gray Markets in the European Economic Community. 10 Hastings Communications and Entertainment Law Journal (CoMM/ENT) 1089-1099 (Summer 1988). (Symposium Is- sue: Piracy and Gray Market Imports: Knocking Out the Knock- offs).

4. France Callebaut, Carole. The Legal Protectionof Artist Performers in France. 31 Journal of the Copyright Society of the U.S.A. 163 -184 (1983).

5. Germany Poll, Gunther. Videogram Rental Protection and the Blank-Tape Levy in Germany. International Business Lawyer 85-86 (Feb. 1985). 1991] Music BIBLIOGRAPHY

Seemann, Ernest A. Sound and Video-Recording and the Copyright Law: The German Approach. 2 Cardozo Arts & Entertainment Law Jour- nal 225-263 (No.2 1983).

6. United Kingdom

Arnold, Richard. The BroadcastingAct 1990 and the Copyright, Designs and Patents Act 1988. 2 Entertainment Law Review (No.1 1991).

De Frietas, Denis. The Copyright, Designs & Patents Bill. 10 European Intellectual Property Review 143 -145 (May 1988).

Durie, Robyn. Moral Rights and the English Business Community. 2 En- tertainment Law Review 40-49 (1991).

Groves, Peter. 'It used to be like that-now it goes like this': Rights in Performances under the Copyright, Designs and Patents Act 1988. 1 Entertainment Law Review 202-208 (No.6 1990).

Hart, Michael. Infringement and Remedies Under the Copyright, Designs and Patents Act 1988. 11 European Intellectual Property Review 113-118 (Apr. 1989).

Rocking the Torts. 46 Modern Law Review 224-231 (No.2 1983). (Brit- ish case in which record companies sued "bootlegger" of Elvis Pres- ley numbers).

Samuel, Geoffrey. Owning Elvis. 99 Law Quarterly Review 182-188 (No.4 1983).

Spruce, Jill. Whether Goods Stolen--Sale of PromotionalRecords Distrib- uted by Record Companies-Meaningof "Any ProprietaryRight or Interest" in Section 5 Theft Act 1968- Conditional Gift. 1983 Crim- inal Law Review 175-177 (Mar.).

Tettenborn, Andrew. Bootleggers Immune from Civil Court Actions by the Recording Industry. 4 The Company Lawyer 86-87 (No.2 1983). HASTINGS COMM/ENT L.J. [VIol. 13:811

G. Free Speech Issues

Abrams, Floyd. Content Neutrality: Some Thoughts on Words and Music. 10 Harvard Journal of Law and Public Policy 61-65 (Winter 1987). (A Symposium on the FirstAmendment: The 1986 FederalistSociety National Meeting).

Ashman, Allan. ConstitutionalLaw ... Street Music. 66 American Bar Association Journal 380-381 (Mar. 1980).

Baddeley, Gary. United States Recording Industry Is Suckered Then Stickered: Why the Threat of Legislation Caused Capitulation to Moralist Groups. 1 Entertainment Law Review 73-77 (No.3 1990).

Beatty, Heather C. Skywalker Records, Inc. v. Navarro: "Enough Al- ready" to the Obscene Results of Miller v. California. 11 Loyola En- tertainment Law Journal 623 -655 (No.2 1990).

Berry, Cecelie and David Wolin. Regulating Rock Lyrics: A New Wave of Censorship? 23 Harvard Journal on Legislation 595-619 (Summer 1986).

Block, Peter Alan. Modern-Day Sirens: Rock Lyrics and the FirstAmend- ment. 63 Southern California Law Review 777-832 (No.3 1990).

Blodgett, Nancy. Heavy Metal: Rocker Sued for Fan's Suicide. 72 Ameri- can Bar Association Journal 32(1) (July 1, 1986).

Butler, Steven E. The Recent Assault on Sexually-Explicit Music Lyrics. 12 Whittier Law Review 367-381 (No.3 1991).

Campbell, Emily. Obscenity, Music and the First Amendment: Was the Crew 2 Lively? 15 Nova Law Review 159-240 (Winter 1991).

Clark, Anne L. "As Nasty as They Wanna Be": PopularMusic on Trial. 65 New York University Law Review 1481-1531 (Dec. 1990).

Coletti, Michael A. FirstAmendment Implications of Rock Lyric Censor- ship. 14 Pepperdine Law Review 421-451 (No.2 1987).

Fitzer, Richard. Do Ozzy Osbourne and Judas Priest Contribute to the Market Place of Ideas? I DePaul-LCA Journal of Art and En- tertainment Law 2-11 (Spring 1991). 1991] Music BIBLIOGRAPHY

Friedland, Steven I. Race, Rap and the Community Standards Test of Obscenity: The Community of Culture. 15 Nova Law Review 119- 157 (Winter 1991).

Gartner, Michael. Fair Comment. 33 American Heritage 28-31 (Oct. 1982). (Caption: "Americans don't hesitate to say anything they please about a public performance. But the right to do so wasn't established until the Cherry Sisters sued a critic who didn't like their ap- palling vaudeville act").

Gerdes, Ted. Ted Nugent on Censorship of Rock Lyrics. 10 Los Angeles Lawyer 14(2) (No.3 1987).

Goodchild, Seth. Twisted Sister, Washington Wives and the FirstAmend- ment: The Movement to Clamp Down on Rock Music. 3 Entertain- ment & Sports Law Journal 131-197 (Fall 1986).

Gordon, Karyn G. ConstitutionalLaw-First Amendment-Protection of First Amendment Freedom of Speech and Expression Does Not Ex- tend to Music Lyrics Judicially Determined to Be Obscene. Skywalker Records, Inc. v. Navarro, 739 F Supp. 578 (S.D. Fla. 1990) 22 Rutgers Law Journal 505-524 (Winter 1991).

Hampton, Scott Alan. Anatomy of a Suicide: Media Liability for Audi- ence Acts of Violence. 9 Loyola Entertainment Law Journal 95-116 (No.1 1989).

Heins, Marjorie. Vanessa Redgrave v. Boston Symphony Orchestra:Feder- alism, Forced Speech, and the Emergence of the Redgrave Defense. 30 Boston College Law Review 1283 -1353 (Sept. 1989).

Holt, John W. Protecting America's Youth: Can Rock Music Lyrics Be ConstitutionallyRegulated? 16 Journal of Contemporary Law 53 -75 (Spring 1990).

Houser, Robert N. Alleged Inciteful Rock Lyrics-A Look at Legal Cen- sorship and Inapplicability of First Amendment Standards. 17 Ohio Northern University Law Review 323 -337 (No.2 1990).

Kaufmann, Wendy B. Song Lyric Advisories: The Sound of Censorship. 5 Cardozo Arts & Entertainment Law Journal 225-263 (No. 1 1986).

Klug, Margaret. Lyrics of Song Not Defamatory [Valentine v. C.B.S., Inc., 698 F.2d 430 (11th Cir. 1983)]. 4 Loyola Entertainment Law HA4,rnNGS COMM/ENT L.J. [Vol. 13:811

Journal 255-259 (Annual 1984). (Entertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

Lazarus, Alan Jay. Rock Is a Four-Letter Word: The Potentialfor FCC Regulation of (Un )popularMusic. 9 COMM/ENT, Hastings Journal of Communications and Entertainment Law 423 -522 (Spring 1987).

Lippetz, Gregory L. The Day the Music Died: Ward v. Rock Against Ra- cism. 25 University of San Francisco Law Review 627-645 (Spring 1991).

Moore, Barbara E. Glover. City Zoning Ordinance Restricting Nude Dancing Held Unconstitutional as Applied. 15 Stetson Law Review 1088-1090 (Summer 1986).

Moore, Kevin M. Fair Comment and Music Criticism: New York Law Under the ConstitutionalDefenses to Libel. 37 Syracuse Law Review 79-116 (Spring 1986).

Otazo Sorondo, Alicia. Flag Burning Yes, Loud Music No: What's the Catch? 44 University of Miami Law Review 1033 -1074 (Mar. 1990).

Quade, Vicki. Free Speech: Street Performers Go Legit. 69 American Bar Association Journal 1816-1817 (Dec. 1983).

Rogow, Bruce. Essay: Too Live a Crew. 15 Nova Law Review 241-261 (Winter 1991).

Rohde, Stephen F. and Paul S. Levine. Rock Lyrics on Trial 10 Los Angeles Lawyer 8(5) (No.3 1987).

Roldan, Jonathan Michael. Radio-active Fallout and an Uneasy Truce: The Aftermath of the Porn Rock Wars. 7 Loyola Entertainment Law Journal 217-261 (Spring 1987).

Scheidemantel, Paul E. It's Only Rock-and-Roll but They Don't Like It: Censoring "Indecent" Lyrics. 21 New England Law Review 467-508 (Spring 1986).

Schooner, Steven L. Obscene Parody: The Judicial Exception to Fair Use Analysis. 14 The Journal of Arts Management and Law 69-94 (Fall 1984). 1991) Music BIBLIOGRAPHY

Slater, Robert Bruce. ParentsPurport to Purify 'Porn Rock. Business and Society Review 60-62 (Winter 1986). Wilder, Robert M. ConstitutionalLaw: Long Live Rock... and the First Amendment. 6 Loyola Entertainment Law Journal 85-93 (Annual 1986).

H. General Aman, Alfred C., Jr. Studying Music, LearningLaw: A Musical Perspec- tive on ClinicalLegal Education. 13 Cornell Law Forum 8-12 (No.3 1987).

Reagon, Bernice Johnson. Songs That Moved the Movement. 15 Perspec- tives: The Civil Rights Quarterly 26-35 (Summer 1983).

Selsky, Eileen. EntertainmentLaw '85: The Year in Review. 9 Los Ange- les Lawyer 14-20 (No.2 1986).

I. Immigration Bell, Steven C. Entry of Alien Entertainer&1984 Entertainment, Publish- ing and the Arts Handbook 333 -347.

Bell, Steven C. Special Proceduresfor the Entry of Alien Entertainers. 1985 Entertainment, Publishing and the Arts Handbook 421-441.

Foster, Charles C. The International Entertainer Under United States Immigration Law. 20 San Diego Law Review 143 -163 (1982).

Fraade, Richard D., David B. Gardner, and Allan Stewart. The IRS, the INS, and the Foreign Entertainer.5 COMM/ENT, A Journal of Com- munications and Entertainment Law 191-224 (1982/1983).

J. Labor Cooper, Brian E. The Beck Decision: Will It Divide Entertainment Unions? 9 Loyola Entertainment Law Journal 425- 444 (No.2 1989).

Gorman, Robert A. The Recording Musician and Union Power: A Case Study of the American Federation of Musicians. 37 Southwestern Law Journal 697-787 (No.4 1983).

Lane, Sue Ellen. Fees or Famine: Could California'sPersonal Managers Survive Regulation? 19 The Journal of Arts Management and Law 5-35 (Winter 1990). HASTINGS COMM/ENT L.J. [Vol. 13:811

McIntire, Christopher. Hotel Musicians Are Not Employees Under the NLRA [Hilton Internationalv. NLRB, 690 F.2d 318 (2d Cir. 1982)1 4 Loyola Entertainment Law Journal 423 -429 (Annual 1984). (En- tertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983). Rasmussen, Richard. Labor Law: Are Creative Artists Independent Con- tractors or Employees? 6 Loyola Entertainment Law Journal 199- 205 (Annual 1986). Werner, Charles A. The Termination of a ProfessionalMusician. 1 An- nual Labor and Employment Law Institute 231-242 (Jan. 1985). (Address given at the First Annual Labor and Employment Law Institute, New Dimensions in Labor and Employment Relations, Louisville, Kentucky, May 1 and 2, 1984).

K. Management, Taxation, and Estate Planning Appel, Martin S. and Dennis A. Harris. The PersonalService Company: A Tax Planning Tool. 33 Major Tax Planning (University of South- ern California Tax Institute) paras. 1000-1012 (1981). Bacal, Norman and Richard Lewin. The Taxation in Canadaof Nonresi- dent Performing Artists and Behind-the-Camera Personnel. 34 Cana- dian Tax Journal 1287-1330 (Nov./Dec. 1986). Batzel, Ellen L. and Lowell W. Tatkin. Structuring the Compensation of Entertainers. 1986 Entertainment, Publishing and the Arts Hand- book 401-408. Branigan, Edward and Bruce M. Stiglitz. Workers' Compensation Insur- ance for Entertainment Loanout Corporations. 5 COMM/ENT, A Journal of Communications and Entertainment Law 725-758 (1983). Browne, Pamela G. and David R. Ludwick. Loans for Clients in the Mu- sic Industry. 2 Journal of Copyright, Entertainment and Sports Law (Tennessee Bar Association) 33-60 (June 1983). Bushkin, Henry I. and Rauer L. Meyer. The Enforceability of Mid-term Extensions of Employment Agreements Under CaliforniaLabor Code Sec. 2855. 15 Beverly Hills Bar Journal 385-398 (1980). Cinammon, Allan. 'Tiny Hates Tax' 85 The Law Society's Gazette 19-20 (Oct. 12, 1988). 1991] Music BIBLIOGRAPHY

Dobray, Debra and Tim Kreatschman. Taxation Issues Facing the For- eign Athlete or Entertainer.9 New York Law School Journal of In- ternational and Comparative Law 265-291 (No.2/3 1988).

Dwight, George II, Peter Levitan, and Laura A. DeFelice. Deductions for Musician's ResidentialPractice Space (Current Developments). 8 Art and the Law 427 (Winter 1984).

Fishelman, Bruce C. Agents and Managers: California'sSplit Personality. 11 Loyola Entertainment Law Journal 401-419 (No.2 1991).

Germano, Cynthia M. "Do You Promise to Love, Honor and Equitably Divide Your Celebrity Status upon Divorce?" A Look at the Develop- ment and Application of New York's EquitableDistribution Statute. 9 Loyola Entertainment Law Journal 153-171 (No.1 1989).

Greenberg, Gary A. The Plight of the PersonalManager in California:A Legislative Solution. 6 COMM/ENT, Hastings Journal of Communi- cations and Entertainment Law 837-864 (Summer 1984).

Haims, Bruce D. Income Tax Planningfor Entertainers.4 Communica- tions and the Law 33-43 (Summer 1982). (Problems Unique to the EntertainmentPersonality: A Forum Sponsored by the Association of the Bar of the City of New York).

Hawkins, Deborah R. Regulating Personal Managers. 134 New Jersey Lawyer 52(4) (May/June 1990).

Hertz, Bradley W. The Regulation of Artist Representation in the En- tertainment Industry. 8 Loyola Entertainment Law Journal 55-73 (No.1 1988).

Jossen, Sanford. FiduciaryAspects of the PersonalManager's Relationship with a Performing Artist. 11 Performing Arts Review 108-126 (1981).

Julian, Karen A. PersonalManager or Talent Agent? A Summary of Re- cent California Labor Commission Findings in Regulation of Enter- tainers' Representatives. 1984 Entertainment, Publishing and the Arts Handbook 315-329.

Lunn, Gerald E., Jr. and Lowell W. Tatkin. Recent Developments in En- tertainment Taxation. 1984 Entertainment, Publishing and the Arts Handbook 351-363. HASTINGS COMM/ENT L.J. [Vol. 13:811

Miller, Ovvie. Divorce in the Entertainment Industry: Some Special Problems. 5 COMM/ENT, A Journal of Communications and En- tertainment Law 43-73 (1982).

Quast, Luaine L. Musicians, Their Representatives and the Agreements Between Them. 1990 Entertainment, Publishing and the Arts Hand- book 191-212.

Schaaf, David W. Estate Planning for Entertainers. 4 Communications and the Law 45-58 (Summer 1982). (Problems Unique to the En- tertainment Personality:A Forum Sponsored by the Association of the Bar of the City of New York).

Short, George G. The Loan-out Corporation in Tax Planningfor Enter- tainers. 44 Law and Contemporary Problems 51-78 (Autumn 1981). (Issues in Entertainment and Sports Law: A Symposium).

Susser, Bennet. Achieving Parity in the Taxation of Nonresident Alien En- tertainers. 5 Cardozo Arts & Entertainment Law Journal 613-647 (No.2 1986).

Towne, Raymond L. Tax Law: Sense and Sensibility in Film and Sound Recording Depreciation, 1984-1986 Legislative Developments. 6 Loyola Entertainment Law Journal 243 -263 (Annual 1986).

Weis, Theodore Delaney. Tax Planning Issues Affecting International Entertainers and Athletes. 9 Fordham International law Journal 97- 133 (No.1 1985/1986).

L. Merchandising and Sponsorship Clark, Andrew E. The Trouble with T-shirts: Merchandise Bootlegging in the Music Industry. 6 COMM/ENT, A Journal of Communications and Entertainment Law 1-42 (Fall 1983).

Johnson, Cheryl. Rock Performers and the "John Doe" Temporary Re- straining Order: Dressing Down the T-Shirt Pirates. 16 John Mar- shall Law Review 101-124 (Fall 1982).

Supnik, Paul D. Designations of Source: Are They Necessary to Support Entertainment Industry Merchandising Rights? 5 Cardozo Arts & Entertainment Law Journal 363- 414 (No.2 1986). 1991] Music BIBLIOGRAPHY

M. Motion Picture Music

Brabee, Jeffrey J. and Todd W. Brabee. Life After the Motion Picture Release: Movie Songs-A Lifetime Annuity. 1988 Entertainment, Publishing and the Arts Handbook 205-224.

Cohen, Lewis Rinaudo. The Synchronization Right: Business Practices and Legal Realities. 7 Cardozo Law Review 787-815 (Spring 1986).

Colby, Richard. Music in Motion Pictures. 30 Journal of the Copyright Society of the U.S.A. 34-37 (No.1 1982).

Halloran, Mark and Thomas A. White. Pop Soundtrack Music for Film. 1990 Entertainment, Publishing and the Arts Handbook 179-189. (Reprinted from The Entertainment and Sports Lawyer (Winter, 1989)).

Sobel, Lionel S. The Legal and Business Aspects of Motion Picture and Television Soundtrack Music. 8 Loyola Entertainment Law Journal 231-258 (Spring 1988).

N. Music Videos

Baxter, Richard L., et al. A Content Analysis of Music Videos. 29 Journal of Broadcasting & Electronic Media 333 -340 (Summer 1985).

Denham, Rena B. The Problem of Musical Videodiscs: The Need for Per- formance Rights in Sound Recordings. 16 University of San Fran- cisco Law Review 133-155 (Fall 1981).

Gertz, Ronald H. and Gary D. Culpepper. Music Video: Realities of the Business. 1986 Entertainment, Publishing and the Arts Handbook 283 -299.

Kirsch, Jonathan L. Music Videos: Entertainment Lawyers Are Scram- bling to Keep Contracts Up to Date. 5 California Lawyer 41(5) (No.11 1985).

Martin, Robert G. Music Video Copyright Protection:Implications for the Music Industry. 32 UCLA Law Review 396-428 (No.2 1984).

Park, Aloma H. Regulation of Music Videos: Should the FCC "Beat It?" 8 Computer Law Journal 287-310 (Summer 1988). HASTINGS COMM/ENT L.J. [Vol. 13:811

0. Music-Litigation

Appleson, Gail. Rock Concert Violence Tied to Drugs,Alcohol. 68 Ameri- can Bar Association Journal 667 (No.6 1982).

Calvert, J. R. The Identification of Hand-Printed Musical Scores. 25 Journal of Forensic Sciences 619-623 (No.3 1980).

Gilson, Daniel D. Rock Concert Injunction Unconstitutional[State ex rel. Rizzaa v. Tom S. A. Inc., 68 Ohio Misc. 19, 428 N.E.2d 878 (1981)1 4 Loyola Entertainment Law Journal 168-175 (Annual 1984). (En- tertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

Light, Jeffrey B. The California Injunction Statute and the Music Indus- try: What Price Injunctive Relief? 7 Art and the Law 141-176 (1982).

Music, Dancing and That Sort of Thing. 133 New Law Journal 25 (No.6086 1983).

Pilato, Bruce C. All You Need Is Litigation: The Beatles Play to Win. 76 American Bar Association Journal 54-59 (July 1990).

Toscano, Carmin K. Conflict of Interest and Attorney Disqualificationin the Entertainment Field [C.A.M. v. E.B. Marks Music, Inc., 558 F Supp. 57 (S.D.N.Y 1983 )1 5 Loyola Entertainment Law Journal 258-261 (Annual 1985).

P. Musicians

Cruz, Jon D. Booze and Blues: Alcohol and Black PopularMusic, 1920- 1930. 15 Contemporary Drug Problems 149-186 (Summer 1988).

Willox-Blau, Pamela. Toward Cultural Integration: The Career Develop- ment of Black Musicians and the Symphony Orchestra. 20 The Jour- nal of Arts Management and Law 17-35 (Spring 1990).

Q. Parody

Berstein, Richard A. Parody and Fair Use in Copyright Law. 31 Copy- right Law Symposium (ASCAP) 1-44 (1984). (National First Prize, Nathan Burkan Memorial Competition). 1991] Music BIBLIOGRAPHY

Del Casino, F. Casey. The PotentialHarm of Musical Parody: Toward an Enlightened Fair Use Calculus. 6 University of Miami Entertain- ment & Sports Law Review 35-59 (Spring 1989).

Kenoe, Lisa B. Parody: Not Always a Laughing Matter. 7 Update (Ameri- can Bar Association) 18(6) (1983).

Nunnenkamp, Kenneth J. Musical Parody: Derivative Use or Fair Use? 7 Loyola Entertainment Law Journal 299-320 (Spring 1987).

Sanders, Charles J. and Steven R. Gordon. Stranger in Parodies: Weird Al and the Law of Musical Satire. 1 Fordham Entertainment, Media & Intellectual Property Law Forum 11-46 (Autumn 1990).

Smith, Peter W. Trademarks,Parody, and Consumer Confusion: A Work- able Lanham Act Infringement Standard. 12 Cardozo Law Review 1525-1581 (Apr. 1991).

The Parody Defense to Copyright Infringement: Productive Fair Use After Betamax. 97 Harvard Law Review 1395-1413 (1984).

R. Payola Sidak, J. Gregory and David E. Kronemyer. The "New Payola" and the American Record Industry: TransactionsCosts and PrecautionaryIg- norance in Contractsfor Illicit Services. 10 Harvard Journal of Law and Public Policy 521-572 (Summer 1987).

Stocks, Timothy E. "Payola" and the Calculation of Music Royalties. 137 New Law Journal 391-392 (No.6302 1987).

S. Practice of Law Cole-Wallen, Donna G. Crossing the Line: Issues Facing Entertainment Attorneys Engaged in Related Secondary Occupations. 8 CoMM/ ENT, Hastings Journal of Communications and Entertainment Law 481-533 (Spring/Summer 1986).

Davies, Patricia Wynn. Why Frankie, Elton and Gilbert Went to Court. The Law Magazine 20-21 (Mar. 4 1988).

Fischer, Mark A. Entertainment/ComputerLaw: Converging Industries, Converging Law. 20 Trial 42-44 (Sept. 1984):

Gross, Lee A. Representing the Texas Entertainer:Pioneering the Third Coast. 48 Texas Bar Journal 10(7) (Jan. 1985). HASTINGS COMM/ENT L.J. [Vol. 13:811 Jaff, Jennifer. Law and Lawyer in Pop Music: A Reason for Self-Reflec-

tion. 40 University of Miami Law Review 659-669 (No.2 1986).

Page, Nigel. Band Aid. Legal Business 34(6) (July/Aug. 1990).

Paragano, Vincent D. To Catch a Rising Star. 134 New Jersey Lawyer 46-48 (May/June 1990).

T. Record Industry Kronemyer, David E. and Gregory J. Sidak. The Structure and Perform- ance of the US. Record Industry. 1986 Entertainment, Publishing and the Arts Handbook 263 -280.

Kronemyer, David E. and Gregory J. Sidak. Two Factors That Reduce Record Company Profitability. 1987 Entertainment, Publishing and the Arts Handbook 371-400.

U. Right of Publicity Anderson, Charles-Edward. Soundalike Suit: Bette Midler Doesn't Wanna Dance, Wins $400,000. 76 American Bar Association Jour- nal 24(1) (Jan. 1990).

Ausness, Richard. The Right of Publicity: A "Haystack in a Hurricane" 55 Temple Law Quarterly 977-1055 (1982).

Bingman, J. Steven. A Descendible Right of Publicity: Has the Time Fi- nally Come for a National Standard? 17 Pepperdine Law Review 933 -968 (No.4 1990).

Blanck, Katherine L. Restricting the Use of "Sound-alikes" in Commer- cial Speech by Amending the Right of Publicity Statute in California. 26 San Diego Law Review 911-932 (No.4 198.9).

Byrd, L. Lee. Privacy Rights of Entertainers and Other Celebrities: A Need for Change. 5 Entertainment & Sports Law Journal 95-116 (Fall 1988).

Davis, Melissa M. Voicing Concern: An Overview of the CurrentLaw Pro- tecting Singers' Voices. 40 Syracuse Law Review 1255-1278 (Winter 1989).

Eder, Randy. When Imitation Is Not the Sincerest Form of Flattery: The Search for a Standard for Performers' Rights. 37 Journal of the Copyright Society of the U.S.A. 407-437 (Apr. 1990). 1991] Music BIBLIOGRAPHY

Frazer, Tim. Pox Pop: US Law Finds a Voice on. Sound-alikes. 1 En- tertainment Law Review 26-30 (No. 1 1990).

Gross, Joan. The Right of PublicityRevisited: Reconciling Fame, Fortune, and Constitutional Rights. 62 Boston University Law Review 965- 1001 (1982).

Helvey, Susan. Midler v. Ford Motor Co.: Misappropriationof Celebrity's Voice by Imitation: The "Costliest" Form of Flattery. 57 UMKC Law Review 635-644 (Spring 1989).

Jacques, Anne. Entertainment Law: The Emergence of a Law of Credit and Billing. 17 Anglo-American Law Review 24-36 (No.1 1988).

Karlin, Charles. A Rose by Any Other Voice? Commercial Voice Misap- propriation in Midler v. Ford Motor Company. 19 Southwestern Uni- versity Law Review 1137-1156 (No.3 1990).

Kirsch, Jonathan L. Look What They've Done to My Song: As Bette Mid- ler Heads to Trial, Other Celebrities Try to Stop Their Impersonators. 1990 Entertainment, Publishing and the Arts 295-299. (Reprinted from 9 California Lawyer 43- 45 (July 1989)).

Neumeyer, Vicky Gerl. The Right of Publicity and Its Descendibility. 7 University of Miami Entertainment & Sports Law Review 287-309 (Spring 1990).

Pesce, Christopher. The Likeness Monster: Should the Right of Publicity Protect Against Imitation? 65 New York University Law Review 782-824 (June 1990).

Ropski, Gary M. and Diane L. Marschang. The Stars' Wars: Names, Pictures and Lookalikes. 17 AIPLA Quarterly Journal 81-99 (Spring 1989).

Salvo, Joseph P. Commercial Sound-alikes: An Argument for a Per- former's Cause of Action. 62 St. John's Law Review 667-703 (Sum- mer 1988).

Samuelson, Pamela. Reviving Zacchini: Analyzing First Amendment De- fenses in Right of Publicity and Copyright Cases. 57 Tulane Law Re- view 836-929 (1983).

Turner, Kimberly Lehman. "Do You Want to Dance" Around the Law? Learn the Latest Steps from the Ninth Circuit in Midler v. Ford Mo- HASTINGS COMM/ENT L.J. [Vol. 13:811

tor Company. 23 Loyola of Los Angeles Law Review 601-644 (Jan. 1990).

Windholz, Elaine. Whose Voice Is It Anyway? Midler v. Ford Motor Co. 8 Cardozo Arts & Entertainment Law Journal 201-224 (Spring 1989).

Wohl, Leonard A. Federal Preemption of the Right of Publicity in Sing- Alike Cases. 1 Fordham Entertainment, Media & Intellectual Prop- erty Law Forum 47-64 (Autumn 1990).

Wohl, Leonard A. The Right of Publicity and Vocal Larceny. Sounding Off on Sound-alikes. 57 Fordham Law Review 445-462 (No.3 1988).

V. Ticket Scalping Bershad, Lawrence and Richard J. Ensor. Ticket Scalping Legislation: A New Jersey Case Study. 9 Seton Hall Legislative Journal 81-135 (No.1 1985).

Happel, Stephen K. and Marianne M. Jennings. Assessing the Economic Rationale and Legal Remedies for Ticket Scalping. 16 Journal of Legislation 1-14 (Winter 1989).

W. Trademarks and Unfair Competition Anthony, Michelle and Richard Finkelstein. Protecting Against Unau- thorized Use of Song Titles as Motion Picture Titles: The Doctrine of Unfair Competition in California and Under the Lanham Act. 82 Patent and Trademark Review 145-161 (No.4 1984).

Beckett, Deirdre Crowe. Trademark Infringement: No Royalties for K- Tel's False Kingsmen. 6 Loyola Entertainment Law Journal 275-281 (Annual 1986).

Bergert, Frederick L. Trademark Protection in the EntertainmentIndus- try: What's in a Name? 57 Florida Bar Journal 461-465 (1983).

Bigger, Stephen and Barbara L. Kagedan. Action for Passing Off, Copy- right Infringement and Violation of Federal Trade PracticesAct for Unauthorized Use of Entertainment Group Name on Goods. 76 Trademark Reporter 423 -426 (No.5 1986).

Borchard, William M. How to Get and Keep a Trademark. 8 Art and the Law 161-174 (Fall 1983). 1991] Music BIBLIOGRAPHY

Borchard, William M. Protection of Names in the Arts in the USA. 1 En- tertainment Law Review 4-8 (No.1 1990).

Borchard, William M. Trademarks and the Arts. 7 Art and the Law 1-18 (Winter 1982).

Cleary, Richard M. Trademark Infringement and the Right of Publicity' Protectingthe "Persona" [Bi-Rite Enterprises, Inc. v. Button Master, 555 F. Supp. 1188 (S.D.N.Y 1983)1 5 Loyola Entertainment Law Journal 262-268 (Annual 1985).

Green, Beverly and Philip. Trademark Registration and the Rocker. 1990 Entertainment, Publishing and the Arts Handbook 303 -313.

Hackett, Florence. Former Platter Enjoined from Using Service Mark [Five Platters, Inc. v. Williams, No. 72-8071, slip op. (N. Y Sup. Ct. July 12, 1982)1 4 Loyola Entertainment Law Journal 310 -312 (An- nual 1984). (Entertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

Hackett, Florence. Pied Piper'sService Mark Abandoned [Yocum v. Cov- ington, 216 U.S.P.Q. (BNA) 210 (T.T.A.B. 1982)1 4 Loyola En- tertainment Law Journal 306-309 (Annual 1984). (Entertainment Law Survey: Cases Decided May 15, 1982 Through May 15, 1983).

More on Musical Group Names. 5 Art and the Law 68 (Spring 1980).

Read, David and Daniel Sandelson. Credit Where Credit's Due. 1 En- tertainment Law Review 42-51 (No.2 1990).

Sidoti, Christopher A. Service Mark Protection. 134 New Jersey Lawyer 28-31 (May/June 1990).

Smith, Neil A. Obtaining Early and Effective Relief Against Trademark Counterfeiting. 10 Hastings Communications and Entertainment Law Journal (CoMM/ENT) 1049-1063 (Summer 1988). (Symposium Issue: Piracy and Gray Market Imports: Knocking Out the Knock- offs).

The Four Aces Litigation: What's in a Name? 5 Art and the Law 67-68 (Spring 1980).

Traphagen, Mark and Robert D. Litowitz. The Song Remains the Same-But Not Necessarily the Name. 39 The American University Law Review 975-1005 (Summer 1990). HASTINGS COMM/ENT L.J. [Vol. 13:811 II Newsletter Articles A. Bankruptcy Chrystie, Stephen, David Gould, and Lou Spoto. Insolvency and the Pro- duction and Distribution of Entertainment Products. 6 The En- tertainment and Sports Lawyer 1(15) (Spring 1988).

Orr, Ronald S. and Shelley Rothschild. Creative Bankruptcy. 4 Interna- tional Media Law 26-28 (May 1986).

Paterno, Peter T. When Artists Filefor Bankruptcy. 4 Entertainment Law & Finance 1(2) (Feb. 1989).

Soocher, Stan. Bitter Battle Over Billy Joel's Business. 7 Entertainment Law & Finance 1(2) (June 1991).

B. Contracts Brooks, Joel. Guidelinesfor Artists in Spec Deals (Part2) 4 Entertain- ment Law & Finance 3 (Sept. 1988).

Brooks, Joel. Music Groups: Drafting the Partnerships (Part 1) 2 En- tertainment Law & Finance 1(2) (Aug. 1986).

Brooks, Joel. Music Groups: Drafting the Partnerships (Part 2). 2 En- tertainment Law & Finance 3(2) (Oct. 1986).

Brooks, Joel. Negotiating Musicians' Spec Deals (Part 1 4 Entertain- ment Law & Finance 1(2) (July 1988).

Brooks, Joel. Negotiating Venue Rental Agreements. 5 Entertainment Law & Finance 1(3) (Sept. 1989).

Fleisher, Marc S. Basic Rights to Negotiate in Tour Deals. 1 Entertain- ment Law & Finance 1(3) (Nov. 1985).

Pierson, Edward P. Drawing Up Contractsfor Production Deals. 4 En- tertainment Law & Finance 1(3) (Nov. 1988).

Pierson, Edward P. and F.R. Wurpel. Computing Live Concert Percent- ages. 3 Entertainment Law & Finance 1(3) (Sept. 1987).

Siegel, Alan H. The Case of the Delicious Dilemma. 3 The Entertainment and Sports Lawyer 7(4) (Winter 1985). 1991] Music BIBLIOGRAPHY

Soocher, Stan. How to Negotiate Concert Agreements. 6 Entertainment Law & Finance 3(2) (Oct. 1990).

1. Management Miller, Michael. Contracts Workshop: Dual System Covers Artist-Agent Agreements. 1 Entertainment Law & Finance 2(3) (Apr. 1985).

Simenowitz, Steven H. Key Issues in Drafting Artist/Manager Pacts. 2 Entertainment Law & Finance 1(3) (Apr. 1986).

2. PersonalService Jacobson, Marc. Rules for Enforcing Contracts with Minors. 2 Entertain- ment Law & Finance 1(3) (Dec. 1986).

Jones, Rosalyn E. PersonalService Contracts:Amendments to California's Law (Part1) 6 International Media Law 30-31 (Apr. 1988).

Jones, Rosalyn E. PersonalService Contracts:Amendments to California's Law (Part2) 6 International Media Law 37-38 (May 1988).

Rubin, Edward L. The Enforcement of PersonalService Contracts. 3 The Entertainment and Sports Lawyer 3-7 (Summer 1984).

Simenowitz, Simon. Getting Injunctions over PersonalService Contracts. 1 Entertainment Law & Finance 3 (Jan. 1986).

Yeam, Kevin W. Tortious Breach of Personal Service Contracts: A New Remedy Against Breaching Performers? 5 The Entertainment and Sports Lawyer 7(5) (Summer 1986).

3. Publishing Johnson, Neville L. and Stan Soocher. Typical Clauses in Songwriter Pacts. 1 Entertainment Law & Finance 5(2) (Dec. 1985).

Marks, Leonard M. and Jane G. Stevens. Publisher-FiduciaryIssue Gets an Airing. 4 Entertainment Law & Finance 1(2) (Jan. 1989).

Pierson, Edward P. Choices in Songwriters' Agreements. 5 Entertainment Law & Finance 1(3) (Feb. 1990).

Sanders, Charles J. Standardsfor Royalty Structure in Exclusive Song- writer Pacts. 1 Entertainment Law & Finance 5(2) (Nov. 1985). HASTINGS COMM/ENT L.J. [Vol. 13:811

4. Recording

Brooks, Joel. Drafting Deals for Music-Demo Shopping. 7 Entertainment Law & Finance 3(2) (June 1991).

Cohen, Sue. Record Premium Packages. 6 International Media Law 93- 94 (Dec. 1988).

Gerber, Andrew. Controlled Composition Strategies. 6 Entertainment Law & Finance 3(2) (Sept. 1990). (Comments made at the New Mu- sic Seminar, held in New York City in July 1990).

Gingold, Jeffrey I. and Joseph L. Serling. Engaging a Record Producer (Part1) 3 Entertainment Law & Finance 1(2) (June 1987). (Part 2 by J.L. Serling under this heading).

Horsfall, Robert. McLelland Case: What Constitutes a 'Release'? 4 Inter- national Media Law 70-71 (Oct. 1986).

Horsfall, Robert. Record ProducerAgreements (Part1 4 International Media Law 37-38 (June 1986).

Horsfall, Robert. Record ProducerAgreements (Part2 4 International Media Law 44-46 (July 1986).

How Recording Artists Can Break 'Bad' Deals. 5 Entertainment Law & Finance 1(2) (Sept. 1989).

Noble, Janice W. Independent vs. Majors: What Artists Should Know. 3 Entertainment Law & Finance 1(3) (June 1987).

Phillips, L. Lee and Jody E. Graham. New Developments in Recording ContractNegotiations: Reflections of a ChangingEconomic Profile. 2 The Entertainment and Sports Lawyer 1(13) (Winter 1984). (In- cludes related articles in boxes: Sample Recording Contract Provi- sions; Definition of the Contract Term by Delivery Date of Albums; and Sample "Controlled Composition" Clause).

Pieniek, Tobias. Cutting Record DistributionDeals (Part2 ) 6 Entertain- ment Law & Finance 3(2) (Apr. 1990).

Pieniek, Tobias. How to Cut Record Distribution Deals (Part 1 5 En- tertainment Law & Finance 1(2) (Mar. 1990). 1991] Music BIBLIOGRAPHY

Serling, Joseph Lloyd. Record Producers: The Battle Over 'Commercial Satisfaction' Part 2. 3 Entertainment Law & Finance 1(2) (Oct. 1987). (Part 1 by J.I. Gingold and J.L. Serling under this heading).

Sobel, Lionel S. Recording Artist Royalty Calculations: Why Gold Records Don't Always Yield Fortunes 6 Entertainment Law Re- porter 3-7 (May 1985).

Sobel, Lionel S. Recording Artist Royalty Calculations: Why Gold Records Don't Always Yield Fortunes (Second Edition) 12 En- tertainment Law Reporter 3-9 (Oct. 1990).

Soocher, Stan and Howard G. Sadowsky. Drafting the Record Producer's Agreement (Part 1). 7 Entertainment Law & Finance 1(3) (Apr. 1991).

Soocher, Stan and Howard G. Sadowsky. Negotiating Record Producers' Deal (Part2). 7 Entertainment Law & Finance 3(2) (May 1991).

Zavin, Jonathan and Scott Martin. Controlled Composition Revisited. 6 Entertainment Law & Finance 1(3) (Dec. 1990).

5. Remedies

Burnett, Harold. Injunctive Relief (Part 1) 3 International Media Law 112-113 (Dec. 1985). (First published in the International Business Lawyer).

Burnett, Harold. Injunctive Relief (Part2). 4 International Media Law 12-14 (Feb. 1986).

Burnett, Harold. Injunctive Relief (Part3 ) 4 International Media Law 21-23 (Mar. 1986).

Lauterstein, Henry W. Pay or Play or Pay and Pay?: Right of an Artist or Entertainerto Recover ConsequentialDamages in a Breach of Con- tract Action. 8 The Entertainment and Sports Lawyer 1(6) (Winter 1991).

Lester, David. Setting Contracts Aside: A Reappraisal. 6 International Media Law 50-53 (July 1988).

Ortner, Charles B. Tolling Termination During Litigation. 7 Entertain- ment Law & Finance 3(2) (July 1991). HASTINGS COMM/ENT L.J. (Vol. 13:811

Simenowitz, Steven H. Calif's Minimum-Compensation Statute Makes Sure That Breaking Up Is Hard to Do. 3 Entertainment Law & Fi- nance 3 (Aug. 1987).

Simensky, Melvin. Determining Damages for Breach of Entertainment Agreements. 8 The Entertainment and Sports Lawyer 1(8) (Spring 1989).

C. Copyright and Related Rights Baumgarten, Jon A. and Christopher A. Meyer. A Practitioner'sGuide to New US. Berne Law (Part 1) 4 Entertainment Law & Finance 1(3) (Mar. 1989).

Baumgarten, Jon A. and Christopher A. Meyer. Copyright Under New Berne Act (Part2) 5 Entertainment Law & Finance 1(3) (Apr. 1989).

Baumgarten, Jon A. and Christopher A. Meyer. Impact of U.S. Adher- ence to Berne (Part3 ) 5 Entertainment Law & Finance 4-5 (May 1989).

Geller, Paul Edward. Worldwide "Chain of Title" to Copyright. 11 En- tertainment Law Reporter 3-8 (Oct. 1989).

Johnson, Neville. Can Oral Transfer of Copyright Be Valid? 4 Entertain- ment Law & Finance 3 (June 1988).

Lauterstein, Henry W. Copyright Concerns with "Critical Editions" of Operatic Scores. 5 The Entertainment and Sports Lawyer 3(6) (Spring 1987).

Sobel, Lionel S. A PracticalGuide to Copyright Ownership and Transfer: The Differences Between Licenses, Assignments and Works Made for Hire ... and Suggestions for Analyzing Which One is "Best" for a Particular Transaction. 5 Entertainment Law Reporter 3-9 (Feb. 1984).

Sobel, Lionel S. U.S. Enters New Era in International Copyright Rela- tions: Joins Berne; Seeks GA.TT Intellectual Property Code; Settles MPEAA's Trade Complaint v. South Korea. 10 Entertainment Law Reporter 3-9 (Nov. 1988).

Zissu, Roger L. Does Copyright Cover Artist's 'Style'? 1 Entertainment Law & Finance 5 (June 1985). 1991] Music BIBLIOGRAPHY

1. Digital Sampling Anderson, Ken. Sampling and Artist Indemnification. 5 Entertainment Law & Finance 1 (July 1989).

'Sampling'Raises Hot Issues. 4 Entertainment Law & Finance 1(2) (Sept. 1988).

2. Digital Technology Bridge, Richard McD. Computer Generated Music (Part1) 8 Interna- tional Media Law 10-13 (Feb. 1990). Bridge, Richard McD. Computer Generated Music (Part2 ) 8 Interna- tional Media Law 18-19 (Mar. 1990).

Brooks, Joel. The Effect of New Recording Technologies on Royalties. 3 Entertainment Law & Finance 3 (Nov. 1987).

Davies, Gillian. Private Copying and DAT The Copycode Solution. 5 In- ternational Media Law 50-52 (July 1987).

Goldberg, David and Robert J. Bernstein. Music Copyrights and the New Technologies. 7 The Entertainment and Sports Lawyer 3-6 (Sum- mer-Fall 1988).

Stones, Deborah. Music in Computer Programs. 5 International Media Law 13-14 (Feb. 1987).

3. Litigation Brooks, Joel. Statute of Limitations:Problems Arise in Suits for Infringe- ment. 1 Entertainment Law & Finance 3 (June 1985).

Eizenman, David B. Discovery Techniques in Copyright Suits. I En- tertainment Law & Finance 3(2) (July 1985).

Eizenman, David B. In Focus: Copyright-Evaluating,Preparing, Filing Claims. 1 Entertainment Law & Finance 3(2) (Apr. 1985).

Finell, Judith Greenberg. Using an Expert Witness in a Music Copyright Case. 12 Entertainment Law Reporter 3-9 (Sept. 1990). (An earlier version of this article appeared as a three part series in the New York Law Journal, May 1990).

Fox, Lawrence I. Who Is a 'Child' Still Remains Open Issue. 4 Entertain- ment Law & Finance 1(3) (Oct. 1988). HASTINGS COMM/ENT L.J. [Vol. 13:811

Lester, David. Music Plagiarism. 4 International Media Law 4-7 (Jan. 1986).

LiCalsi, Paul V. and Michael S. Kusher. Discovery Info Key to Song Suit Settlement. 3 Entertainment Law & Finance 1(2) (May 1987).

LiCalsi, Paul V. and Leonard M. Marks. Laches, Estoppel Claims in Copyright Suits. 2 Entertainment Law & Finance 1(3) (Oct. 1986).

Nimmer, David. Fee Simple: Debunking the IncreasingComplexity in the Award of Attorney's Fees in Copyright Infringement Cases. 6 The En- tertainment and Sports Lawyer 3-6 (Spring 1988).

Ortner, Charles B. and David R. Toraya. Voice Prints in Copyright Pro- ceedings. 5 Entertainment Law & Finance 1(3) (Nov. 1989).

Pollack, Michael J. Suing the Stars-80's Style: The Copyright Infringe- ment Lawsuit. 7 Entertainment Law Reporter 3-8 (Feb. 1986).

Richie Ruling Fosters 'Similarity' Controversy. 3 Entertainment Law & Finance 1(2) (Mar. 1988).

Smokler, Sandra K. Copyright Infringement: Proof of Access Through Striking Similarity. 1 The Entertainment and Sports Lawyer 139- 144 (Spring 1984).

4. Public Performance-Licensing Basson, Kyle-Beth. Syndicated Television Music: The Source Licensing Debate Rages On (Part1 9 Entertainment Law Reporter 3 -7 (July 1987).

Basson, Kyle-Beth. Syndicated Television Music: The Source Licensing Debate Rages On (Part 2) 9 Entertainment Law Reporter 3-10 (Aug. 1987).

Brabec, Jeffrey J. The Not-So-Mysterious World of Jingle Royalties. 8 En- tertainment Law Reporter 3-5 (Oct. 1986).

Deutsch, Alvin. The Buffalo Shuffle. 4 The Entertainment and Sports Lawyer 7(8) (Winter-Spring 1986).

Dobishinski, William M. Beyond Buffalo Broadcasting: A Brave New World, or an Impossible Mission? 3 The Entertainment and Sports Lawyer 1(11) (Winter 1985). 1991] Music BIBLIOGRAPHY

Kuhn, Michael and David Lester. Grand Rights. 4 International Media Law 76-78 (Nov. 1986).

Sobel, Lionel S. CBS Tests Its Clout: Network Asks Producersto Get "Di- rect" Music Performance Licenses from Composers and Publishers; ASCAP and BMI Blanket Licenses May Not Be Renewed. 5 En- tertainment Law Reporter 4-8 (June 1983).

Zeffman, David. Collective Licensing. 7 International Media Law 22-24 (Mar. 1989).

5. Sound Recordings Klein, Deborah L. US Record Rental: The Amendment of 1984. 5 Inter- national Media Law 28-29 (Apr. 1987).

Pieniek, Tobias. How to Properly Calculate Cassette Royalties. 3 En- tertainment Law & Finance 3(2) (Feb. 1988).

6. Sound Recordings-Piracy Cavenaugh, Dennis H. Remedies to Fight 'Grey Market' Imports. 2 En- tertainment Law & Finance 1(3) (Sept. 1986).

Shadow Cast on Copyright Import Claims. 4 Entertainment Law & Fi- nance 1(2) (Aug. 1988).

D. Foreign, International, and Comparative Law Music Business and the Law: Developments in 1986 (Special Supple- ment) 5 International Media Law Supp. 2-19 (Apr. 1987). (CON- TENTS: Michael Flint. United Kingdom; Cees van Rij. European Economic Community; Brian Lewis. France; Gunter Poll. Germany; David Pepperkorn. The Netherlands; Steven K. Rush. United States; and Richard Hahn. Canada).

1. Australia Hall, Michael. Australian Copyright Law: The New Amendments. 7 Inter- national Media Law 88-90 (Nov. 1989).

2. Canada Hahn, Richard. Copyright Law in Canada (Part1) 7 International Me- dia Law 5-7 (Jan. 1989).

Hahn, Richard. Copyright Law in Canada (Part2 ) 7 International Me- dia Law 17-18 (Feb. 1989). HASTINGS CoMM/ENT L.J. [Vol. 13:811

3. France Bourdu-Roussel, Brigette and Frederique De Ridder. Collection Agencies in France. 6 International Media Law 45-46 (June 1988). (Transla- tion by Brian Lewis).

4. Germany Poll, Gunter. Merchandising in Germany: Legal and PracticalAspectl 7 International Media Law 3-5 (Jan. 1989).

Rochlitz, Burkhard. Record Rental: The Legal Situation in Germany. 5 International Media Law 14-15 (Feb. 1987).

5. Japan Hung, Michele. Record Rental in Japan. 5 International Media Law 66- 68 (Sept. 1987).

6. Singapore De Frietas, Denis. The Singapore Copyright Act of 198Z 5 International Media Law 82-85 (Nov. 1987).

7. United Kingdom Bate, Stephen. Moral Rights: Parody and Caricature.7 International Me- dia Law 81-82 (Oct. 1989).

Brice, Deborah. Elton John Case. 4 International Media Law 2-4 (Jan. 1986).

de b Bate, Stephen. PerformanceRights: The Copyright Act 1988. 7 Inter- national Media Law 39-41 (May 1989).

Fisher, Clive. Life of a Recording: Copyright Cycle of a Recording Made in the UK. 5 International Media Law 30-31 (Apr. 1987).

Fisher, Clive. Life of a Song: Copyright Cycle of a Song Written in the UK. 3 International Media Law 22-23 (Mar. 1987).

Fletcher, Richard. PermittedActs: Audio Visual Works and the Copyright Act. 7 International Media Law 64-66 (Aug. 1989).

Fraser, Colin. Literary,Dramatic and Musical Works: The Copyright Act 1988. 7 International Media Law 57-58 (July 1989). 19911 Music BIBLIOGRAPHY

Isherwood, Patrick. The BPI and the MU: The 1989 Industry Agreement. 8 International Media Law 52-53 (July 1990). (Agreement between the British Phonographic Industry and the Musician's Union).

John, Sara. The Copyright Act: How it Affects the Record Industry (Part 1) 7 International Media Law 75 (Sept. 1989).

John, Sara. The Copyright Act 1988: How it Affects the Record Industry (Part2). 7 International Media Law 79-80 (Oct. 1989).

E. Free Speech Issues Soocher, Stan. Aftermath of Obscenity Decision. 6 Entertainment Law & . Finance 1(3) (July 1990).

Soocher, Stan. Industry Battling Rise in Obscenity Assaults. 6 Entertain- ment Law & Finance 1(3) (May 1990).

Soocher, Stan. Inside Judas Priest Decision. 6 Entertainment Law & Fi- nance 1(3) (Sept. 1990).

Soocher, Stan. Inside Rap Obscenity Lawsuit. 6 Entertainment Law & Finance 1(3) (June 1990).

F. Immigration Carp, Larry and Mark Goldman. Key Entertainment and Sports Law Provisions in the New Immigration Law. 9 The Entertainment and Sports Lawyer 9(6) (Spring 1991).

Fraade, Richard D. Loan-Out CorporationsCan Help Foreign Entertain- ers Get US. Visas. 2 Entertainment Law & Finance 3 (Jan. 1987).

Fraade, Richard D. New Visa Rules' Impact: Foreign Entertainers.2 En- tertainment Law & Finance 1(2) (Mar. 1987).

Fraade, Richard D. On Permanent US. Residency for Artists. 1 En- tertainment Law & Finance 1(2) (Mar. 1986).

Glucoft, Frida Popick. US Immigration: Temporary Employment of For- eign Artists. 3 International Media Law 20-22 (Mar. 1987).

Glucoft, Linda P. Temporary Employment in the United States of Foreign Entertainers: Immigration Principles. 5 The Entertainment and Sports Lawyer 1(5) (Summer 1986). HASTINGS COMM/ENT L.J. [V/ol. 13:811

Murphy, Timothy J. How to Ease the Immigration Processfor Foreign Entertainers. 1 Entertainment Law & Finance 3(2) (Aug. 1985).

Spiriti, Joseph A., Jr. How to Handle H-1 Visa Petitions. 6 Entertainment Law & Finance 3(2) (May 1990).

G. Labor Feller, Richard L. California'sRevised Talent Agencies Act: Fine-tuning the Regulation of Employment Procurement in the Entertainment Industry. 5 The Entertainment and Sports Lawyer 3(4) (Fall 1986).

Fletcher, Richard and Philippa Baker. Collective BargainingAgreements (Part 1 ) 7 International Media Law 41-43 (May 1989).

Fletcher, Richard and Philippa Baker. Collective BargainingAgreements (Part2) 7 International Media Law 46-47 (June 1989).

Simenowitz, Steven H. Comparing N. Y, Calif Licensing. 4 Entertain- ment Law & Finance 1(2) (Mar. 1989).

H. Management, Taxation, and Estate Planning Accountants Air Audit Tips. 7 Entertainment Law & Finance 1(3) (May 1991).

Abrams, Victor, et al. International Taxation of Entertainers and Ath- letes: Report by Organizationfor Economic Cooperationand Develop- ment Spotlights the Area. 10 Entertainment Law Reporter 3-10 (Sept. 1988).

Boyle, Patrick J. Canadian Taxation of US. Performing Artists. 7 En- tertainment Law Reporter 7-9 (May 1986).

Brooks, Joel. Copyright Creators' Estate Plans (Part 2) 6 Entertainment Law & Finance 1(2) (Aug. 1990).

Brooks, Joel. Estate Plans for Creators of Copyrights (Part 1 6 En- tertainment Law & Finance 1(3) (May 1990).

Brooks, Joel. Methods for Ceding Powers of Attorney. 1 Entertainment Law & Finance 1(2) (Feb. 1986).

Colton, Edward E. Establishing an Interest in an Author's Work (Part 1). 1 Entertainment Law & Finance 1(2) (Feb. 1986). 1991] Music BIBLIOGRAPHY 865

Colton, Edward E. Valuing Estates ofAuthors (Part 2) 1 Entertainment Law & Finance 5(1) (Mar. 1986).

Curtis, Richard L. Deduction Limits on Recordings Announced. 5 En- tertainment Law & Finance 1(3) (June 1989).

Curtis, Richard L. Rulings to Alter Deduction Methods. 6 Entertainment Law & Finance 3(2) (Jan. 1991).

Damsky, Gerald. New Tax Law Changes Rules on Deductions. 2 En- tertainment Law & Finance 1(2) (Nov. 1986).

Damsky, Gerald. Saving Taxes Through Artist Incorporation. 1 En- tertainment Law & Finance 1(2) (July 1985).

Damsky, Gerald. Tax Court Puts Limits on PSCs. 5 Entertainment Law & Finance 1(2) (Jan. 1990).

Damsky, Gerald. Tax Planningfor Foreign Entertainers. 1 Entertain- ment Law & Finance 1(4) (June 1985).

Damsky, Gerald. Tours Raise Tax, Business Considerations. 1 Entertain- ment Law & Finance 1(3) (Dec. 1985).

Dobray, Debra. How Entertainersand Athletes Can Win By Maximizing Business-Expense Deductions. 3 Entertainment Law & Finance 4(2) (July 1987).

Galteri, Patricia and Nathaniel L. Corwin. The Tax Issues Facing Pro- moters of Benefits. 6 Entertainment Law & Finance 1(3) (June 1990).

Gitter, Jeff. United Kingdom Withholding Law of Concern to American Entertainers. 3 Entertainment Law & Finance 4(2) (May 1987).

Handwerker, Alvin S. Concert Tour Accounting. 2 Entertainment Law & Finance 1(3) (Feb. 1987).

Jelin, Fred. The PersonalManager Controversy: Carving the Turf 7 En- tertainment Law Reporter 3-8 (June 1985).

Klinger, Leslie S. Incorporating the Entertainer: Is it Still Valuable? 8 Entertainment Law Reporter 3-6 (Aug. 1986). HASTINGS COMM/ENT L.J. [Vol. 13:811

Lawson, Thomas N. and Bruce M. Stiglitz. Tax Planningfor Entertain- ers, Artists and Athletes: The Continued Viability of Loan-Out Corpo- rations After Tax Reform. 11 Entertainment Law Reporter 3-8 (Aug. 1989). Leopold, Fredric. Errorsand Omission Insurance. 5 International Media Law 74-76 (Oct. 1987). Share, Leslie A. Tax Strategies for Entertainers,Athletes, Who Work Abroad. 2 Entertainment Law & Finance 4(2) (July 1986). Shefsky, Lloyd E. Deducting Home Expenses. 6 Entertainment Law & Finance 1(2) (Oct. 1990). Shefsky, Lloyd E. Strategies for Artists' Passive Tax Activities. 2 En- tertainment Law & Finance 1(3) (Feb. 1987). Simenowitz, Steven H. Ins and Outs of Artist/ManagerDisputes. 3 En- tertainment Law & Finance 1(2) (Jan. 1988). Stiglitz, Bruce M. InternationalTax Planningfor Artists in the Entertain- ment Industry (PartIA and IB) 11 Entertainment Law Reporter 3 - 12 (Nov. 1989). Stiglitz, Bruce M. InternationalTax Planningfor Artists in the Entertain- ment Industry (PartIC and ID) 11 Entertainment Law Reporter 5- 13 (Dec. 1989). Stiglitz, Bruce M. InternationalTax Planningfor Artists in the Entertain- ment Industry (PartII 11 Entertainment Law Reporter 3 -12 (Jan. 1990). Takiff, Peter E. How Changes in Law Affect Entertainers. 3 Entertain- ment Law & Finance 1(2) (Mar. 1988). Takiff, Peter E. Protecting Artists with Tour Insurance. 3 Entertainment Law & Finance 1(2) (July 1987).

I. Merchandising and Sponsorship Acosta-Lewis, Robert. A Basic Approach to Securing Event Sponsorship Rights. 9 The Entertainment and Sports Lawyer 1(10) (Spring 1991). de b Bate, Stephen. Sponsorship and Intellectual Property Rights. 6 Inter- national Media Law 14-15 (Feb. 1988). 1991] Music BIBLIOGRAPHY

Feinswog, Kenneth A. Getting Judicial Relief from Bootleggers 4 En- tertainment Law & Finance 3 (July 1988).

Kronholz, June. Peddling Music: Pop and Rock Tours Like Michael Jackson's Grow More Complex as Both Business Transactions and On-Stage Gimmicks Outstrip the Old Beatles 6 Entertainment Law Reporter 3-5 (July 1984).

Poll, Gunter. Merchandising in Germany: Legal and PracticalAspects. 7 International Media Law 3-5 (Jan. 1989).

Pollack, Michael J. Concert Tour Financing Through Record Company Support and Corporate Sponsorship. 6 Entertainment Law Reporter 6-9 (July 1984).

Ross, Jay B. Corporate Sponsorship of Artists (Part1 4 Entertainment Law & Finance 1(2) (Oct. 1988).

Ross, Jay B. When Corps Sponsor Entertainers (Part2 4 Entertainment Law & Finance 1(2) (Nov. 1988).

Shefsky, Lloyd E. Celebrity Endorsers Subject to Liability? (Part 1) 4 Entertainment Law & Finance 1(3) (Sept. 1988).

Shefsky, Lloyd E. When Endorsers Face PrivateActions (Part2 ) 4 En- tertainment Law & Finance 3(2) (Oct. 1988).

Supnik, Paul D. Diluting the Counterfeiters:New Trademark Rights and Remedies in Dealing with Entertainmentand Merchandising Proper- ties. 4 The Entertainment and Sports Lawyer 3-10 (Fall 1985).

J. Motion Picture Music

Devereux, Mark. Soundtrack Albums. 4 International Media Law 68-70 (Oct. 1986).

Gertz, Ronald H. Securing Sync Rights for Songs in Movies. 5 Entertain- ment Law & Finance 1(3) (Apr. 1989).

Halloran, Mark and Thomas A. White. Pop Soundtrack Music for Film. 7 The Entertainment and Sports Lawyer 1(13) (Winter 1989).

Pieniek, Tobias. Motion PictureSoundtrack Agreements. 4 Entertainment Law & Finance 1(3) (Apr. 1988). HASTINGS Comm/ENT L.J. [Vol. 13:811

Price, Todd Alan. How to Commission Music Scores for Films 5 En- tertainment Law & Finance 1(3) (Aug. 1989).

Sobel, Lionel S. A Movie and TV Producer's Guide to Acquiring and Earning Income from Soundtract Music (Part1) 7 Entertainment Law Reporter 3-6 (Oct. 1985).

Sobel, Lionel S. A Movie and TV Producer's Guide to Acquiring and Earning Income from Soundtract Music (Part2 ) 7 Entertainment Law Reporter 3-5 (Dec. 1985).

Sobel, Lionel S. A Movie and TV Producer's Guide to Acquiring and Earning Income from Soundtrack Music (Part 3) 7 Entertainment Law Reporter 6-9 (Jan. 1986). (Correction in 7 Entertainment Law Reporter 6 (Apr. 1986)).

K. Music Trade

Biederman, Don. Self-Publishing, Etc.: A Rejoinder. 8 Entertainment Law Reporter 6-8 (Oct. 1986).

Mimms, Malcolm L., Jr. How to Value Music Publishing Catalogues (Part1) 5 Entertainment Law & Finance 1(3) (Dec. 1989).

Mimms, Malcolm L., Jr. How to Value Music Publishing Catalogues (Part2). 5 Entertainment Law & Finance 3(2) (Jan. 1990).

Sanders, Charles J. and Stan Soocher. When an Artist Does a Benefit Concert. 5 Entertainment Law & Finance 1(2) (May 1989).

Soocher, Stan. Music Industry Has Best Year in a Decade. 4 Entertain- ment Law & Finance 3(2) (Jan. 1989).

Soocher, Stan. Music Industry May Sing Despite Market Problems. 3 En- tertainment Law & Finance 1(2) (Feb. 1988).

L. Music Videos

Brooks, Joel. Negotiating & DraftingAgreements with Directorsof Music Videos. 1 Entertainment Law & Finance 2(2) (Mar. 1986).

Chodosh, Loren. Negotiating the Short-Form Video Commissioning Agreement: A PracticalGuide. 1 Entertainment Law Reporter 52-56 (July 1990). 1991) Music BIBLIOGRAPHY

Gertz, Ronald H. and Gary D. Culpepper. Music Video: Realities of the Business. 8 Entertainment Law Reporter 3-10 (June 1986).

Kuhn, Michael. Compact Disc Video: An Insider's Story. 6 International Media Law 13-14 (Feb. 1988).

Meloni, Robert. New Contract Issues in Music Video Deals. 1 Entertain- ment Law & Finance 1(3) (Jan. 1986).

M. Music-Legislation

Gordon, Steven R. and Leslie A. Honig. The Celebrity Rights Act. 7 The Entertainment and Sports Lawyer 1(6) (Summer/Fall 1988).

N. Music-Litigation

Feller, Richard. Let Me Count the Ways: Dispute Resolution in the En- tertainment Industry. 4 The Entertainment and Sports Lawyer 1(7) (Fall 1985).

Feller, Richard L. RICO and EntertainmentLitigation. 3 The Entertain- ment and Sports Lawyer 7-9 (Fall 1984).

Gordon, Steven R. Silverman v. CBS: Amos 'n"Andy Go to Court. 7 The Entertainment and Sports Lawyer 3-7 (Spring/Summer 1989).

Marks, Leonard M. How Back-Royalty Suit Affects Music Industry. 4 Entertainment Law & Finance 1(3) (Aug. 1988).

Marks, Leonard M. How to Avoid/Pursue Suits over Royalties. 1 En- tertainment Law & Finance 1(3) (Nov. 1985).

Nimmer, David. Criminal Copyright and Trademark Law: The Impor- tance of Criminal Sanctions to Civil Practitioners.9 Entertainment Law Reporter 3-9 (June 1987).

Soocher, Stan. Joel Lawsuit Sets Interview Guidelines. 4 Entertainment Law & Finance 1(2) (May 1988).

Soocher, Stan. Music-Deafening Suits Rolling into Court. 4 Entertain- ment Law & Finance 1(3) (June 1988).

Soocher, Stan. When Concertgoers Sue for Getting Hit. 4 Entertainment Law & Finance 3 (Aug. 1988). HASTINGS COMM/rENT L.J. [Vol. 13:811

0. Practice of Law Fox, Samuel. What to Charge Clients in the Music Industry. 3 Entertain- ment Law & Finance 1(3) (Dec. 1987).

Jaffe, Judianne. License to Kill: Strengthening the Attorney's Privilege to Advise Clients Not to Perform Contracts. 4 The Entertainment and Sports Lawyer 9-12 (Summer 1985).

Pierson, Edward P. Music Law Symposium Held in Texas. 4 The En- tertainment and Sports Lawyer 18(3) (Fall 1985).

Power of Music Lawyers: Pros Debate. 6 Entertainment Law & Finance 3 (Aug. 1990). (Includes remarks by Peter Paterno and Leonard Marks).

Sample Retainer Letter. 7 Entertainment Law & Finance 5 (July 1991).

Simensky, Melvin. The Importance of Entertainment Business Practices to the Practice of Entertainment Law. 7 Entertainment Law Re- porter 3-5 (Mar. 1986).

Soocher, Stan and Leslie Yudell. Artists' Attorneys Tell Tales of Ups & Downs. 7 Entertainment Law & Finance 1(2) (July 1991).

P. Record Industry Brooks, Joel. Independent Financing of Sound Recordings. 3 Entertain- ment Law & Finance 1(3) (Apr. 1987).

Reynold, James. Marketing Alternatives for Independent Labels. 4 En- tertainment Law & Finance 1(3) (July 1988).

Q. Right of Publicity Feller, Richard L. The Right of Publicity. 2 The Entertainment and Sports Lawyer 3(3) (Winter 1984).

Given, David E. The Rights of Publicity and Privacy. 6 The Entertain- ment and Sports Lawyer 8(2) (Fall 1987).

Gordon, Steven R. and Leslie A. Honig. Publicity Law Battle Heats Up in New York. 4 Entertainment Law & Finance 1(3) (Apr. 1988).

Gordon, Steven R. and Leslie A. Honig. Transfer Issues in Publicity, Pri- vacy Rights. 4 Entertainment Law & Finance 1(3) (May 1988). 1991] Music BIBLIOGRAPHY

Heinke, Rex and Vivienne A. Vella. Misappropriationof Voice in the US: The Midler Decision. 8 International Media Law 47-48 (June 1990).

Kurnit, Richard. Right of Publicity: Recent Developments in Wars over the Use of Names, Pictures and Look-alikes. 4 The Entertainment and Sports Lawyer 1(4) (Winter/Spring 1985).

Marks, Leonard M. 'Midler' Fallout Still Being Felt. 4 Entertainment Law & Finance 4 (Dec. 1988).

McCarthy, J. Thomas. Protection of Names and Likenesses As Rights of Publicity or Trademarks: A Comparison. 8 Entertainment Law Re- porter 3-7 (Nov. 1986).

Pilpel, Harriet F. Guidelines Emerging in Look-alike Suits. 2 Entertain- ment Law & Finance 1(2) (Jan. 1987).

Soocher, Stan. Soundalike Claims Boosted by Waits? [Waits v. Frito-Lay Inc.1 6 Entertainment Law & Finance 3 (June 1990).

R. Trademarks and Unfair Competition Lewis, Jon A. Venue in Federal Trademark Cases: Choosing the Right Defendant. 6 Entertainment Law & Finance 3(2) (July 1990).

Pierson, Edward P. How to Register Artists' Names as Servicemarks. 3 Entertainment Law & Finance 1(3) (Nov. 1987).

Pilpel, Harriet F. and Lauren W. Field. State Remedies For Improper Use of Name (Part2). 1 Entertainment Law & Finance 1(2) (July 1985). (Part 1 by S. Soocher under this heading).

Selkowitz, Ira C. Tips on Removing Trademark Suits. 2 Entertainment Law & Finance 3 (Nov. 1986).

Soocher, Stan. Remedies for Improper Use of Client Name: Checklist (Part1). 1 Entertainment Law & Finance 1(2) (Apr. 1985). (Part 2 by H.F. Pilpel and L.W. Field under this heading).

Supnik, Paul D. Diluting the Counterfeiters:New Trademark Rights and Remedies in Dealing with Entertainmentand Merchandising Proper- ties. 4 The Entertainment and Sports Lawyer 3-10 (Fall 1985). HASTINGS COMM/ENT L.J. [Vol. 13:811

III Newspaper Articles A. Antitrust Flaherty, Francis J. Sherman Act Gets Top Billing: Four Recent Cases Affect Entertainment Industry. The National Law Journal, Sept. 6, 1982, at 3, col. 1.

B. Bankruptcy Schwarz, Thomas J. and Herbert F. Kozlov. Escaping Contracts Through Bankruptcy. New York Law Journal, Dec. 22, 1982, at 7, col. 1.

C. Contracts Dobishinski, William M. Negotiatingfor the Music that Accompanies the Ad. New York Law Journal, July 5, 1991, at 5, col. 1.

Fox, Samuel J. New Technology in the Music Industry Gives Lawyers Something to Sing About. New York Law Journal, May 15, 1987, at 5, col. 1.

Freedman, Robert I. Arranging to Have Music Composed for TV Pro- grams. New York Law Journal, Apr. 12, 1991, at 5, col. 1.

Pierson, Edward P. Contract Considerationsin the EntertainmentIndus- tries. New York Law Journal, July 19, 1991, at 5, col. 1.

Rudell, Michael I. Highlights of New Production Contract. New York Law Journal, July 26, 1985, at 1, col. 1.

Shanker, Jay. The Finishing Touches on Endorsement Pacts (Part 4) New York Law Journal, Jan. 11, 1991, at 5, col. 1.

Shanker, Jay. The Services Clause of an Endorsement Contract (Part2 New York Law Journal, Dec. 21, 1990, at 5, col. 1.

Shanker, Jay. The Usage & Compensation Clauses In Endorsement Pacts (Part3). New York Law Journal, Dec. 28, 1991, at 5, col. 1.

Shanker, Jay. When An Artist is Engaged to Endorse a Product (Part1 New York Law Journal, Dec. 14, 1991, at 5, col. 1.

1. Publishing Graubart, Jeffrey L. British Rulings Tune in to Songwriter-Publisher Agreements. New York Law Journal, Nov. 21, 1986, at 5, col. 1. 1991] Music BIBLIOGRAPHY

Graubart, Jeffrey L. Self-Publishing and the Songwriter-Music Publisher Agreement. The Los Angeles Daily Journal, Oct. 24, 1986, at S3, col. 1.

Medow, Evan. Key Elements to Consider in Song Print Agreement. New York Law Journal, June 22, 1990, at 5, col. 1.

Siegel, Alan H. The Songwriter-Music PublisherRelationship and the Im- plications of 'Employment for Hire. New York Law Journal, Oct. 4, 1985, at 5, col. 1.

Sukin, Michael F. and Jay L. Cooper. Elements of Songwriter Agree- ments. New York Law Journal, July 24, 1987, at 5, col. 1.

2. Recording

Bomser, Alan H. and Fred E. Goldring. Current Trends in Record Deals, New York Law Journal, Apr. 22, 1983, at 4, col. 4. (Reprinted in 1984 Entertainment, Publishing and the Arts Handbook 167-173).

Fox, Samuel J. Crafting Demo Recording Agreement for New Artists (Part1). New York Law Journal, Nov. 18, 1988, at 5, col. 1.

Fox, Samuel J. What Provisions to Include in Demo Pact with Label (Part 2). New York Law Journal, Nov. 25, 1988, at 5, col. 1.

Fox, Samuel J. When a Record Co. Wants to Sample a New Artist. New York Law Journal, Nov. 10, 1988, at 7, col. 1.

Rudell, Michael I. Record Companies Seek Artist Merchandising Rights. New York Law Journal, Oct. 25, 1985, at 1, col. 1.

Wohl, Leonard A. and Ronald S. Bienstock. Group Therapy: Surviving That First Record Deal (Part1) New York Law Journal, Oct. 26, 1990, at 5, col. 1.

Wohl, Leonard A. and Ronald S. Bienstock. Group Therapy: Surviving That First Record Deal (Part2 ) New York Law Journal, Nov. 2, 1990, at 5, col. 1.

Wohl, Leonard A. and Ronald S. Bienstock. Group Therapy: Surviving That First Record Deal (Part3 ) New York Law Journal, Nov. 9, 1990, at 5, col. 1. HASTINGS COMM/ENT L.J. [Vol. 13:811

D. Copyright and Related Rights

Frankel, Marvin E. Mills Music: Why It May Do More Harm Than Good to Change Its Result by Amending Statute. New York Law Journal, May 23, 1986, at 5, col. 1. (Address given to The Copyright Society of the U.S.A., New York City, Mar. 7, 1986).

Goldberg, David and Robert J. Bernstein. Legislation by the 101st Con- gress. New York Law Journal, Jan. 18, 1991, at 3, col. 1.

Goldberg, David and Robert Bernstein. Music Copyrights and the New Technologies. New York Law Journal, Jan. 15, 1988, at 1, col. 1.

Hartnick, Alan J. A Week in the Life of Register of Copyrights. New York Law Journal, June 21, 1991, at 5, col. 1.

Krasilovsky, M. William. Happy Marital State of Collaboration Has Its Pitfalls: Marriage Without a Divorce Law (Part2 ) New York Law Journal, Feb. 7, 1986, at 5, col. 1. (Parts I and 2 republished as one article in 7 Journal of Media Law & Practice 123 -129 (Jan. 1987)).

Krasilovsky, M. William. Implications of Collaboration in Determining Rights to Royalties for Musical Compositions (Part1) New York Law Journal, Jan. 31, 1986, at 5, col. 1.

Latman, Alan and Jane C. Ginsburg. Let the Sounds of Music Creep into Our Ears. New York Law Journal, May 20, 1983, at 1, col. 1.

Palmer, Robert. The Copyright Laws Haven't Kept Up with Changes in Music. The Los Angeles Daily Journal, Apr. 13, 1983, at 4, col. 3.

Simensky, Mel. Limitations on Exclusive Rights Confronting Holders of Copyrighted Works. New York Law Journal, Oct. 26, 1984, at 5, col. 1.

1. Digital Sampling

Gordon, Steven R. and Charles J. Sanders. The Rap on Sampling: Theft or Innovation? (Part 1 New York Law Journal, Apr. 28, 1989, at 5, col. 1.

Gordon, Steven R. and Charles J. Sanders. When There's Sampling Without Authorization (Part 2) New York Law Journal, May 5, 1989, at 5, col. 1. 1991] Music BIBLIOGRAPHY

Pasich, Kirk A. Are Samplers Fair Users or Pirates? The Los Angeles Daily Journal, Feb. 6, 1990, at 7, col. 1.

Soocher, Stan. License to Sample: New Records FeatureSnippets of Songs Previously Recorded: Some Lawyers Say That's Infringement. The National Law Journal, Feb. 13, 1989, at 1, col. 2.

2. Litigation

Carrizosa, Philip. 'Kismet' Authors Win $1.2 Million for Infringement. The Los Angeles Daily Journal, Sept. 28, 1989, at 1, col. 4.

Finell, Judith Greenberg. How Expert Witness Helps in Music Copyright Cases (Part2). New York Law Journal, May 11, 1990, at 5, col. 1.

Finell, Judith Greenberg. Role of the Expert Witness at a Music Copy- right Trial (Part3). New York Law Journal, May 18, 1990, at 5, col. 1.

Finell, Judith Greenberg. Using an Expert Witness in a Music Copyright Case (Part1). New York Law Journal, May 4, 1990, at 5, col. 1.

Goldberg, David and Robert J. Bernstein. Damages, Attorneys' Fees and Prejudgment Interest. New York Law Journal, July 19, 1991, at 3, col. 1.

Goldberg, David and Robert J. Bernstein. The 'OrdinaryObserver' Revis- ited. New York Law Journal, May 17, 1991, at 3, col. 1.

Hartnick, Alan J. Examining the Reid Case: How It Applies to the Past (Part2) New York Law Journal, Dec. 22, 1989, at 5, col. 1.

Hartnick, Alan J. Future of Work for Hire Since the Justices' Reid Deci- sion (Part3 ) New York Law Journal, Dec. 29, 1989, at 5, col. 1.

Hartnick, Alan J. Where Cost-Benefit Analysis May Encourage Infringe- ment. New York Law Journal, Dec. 9, 1988, at 5, col. 1.

Hartnick, Alan J. Work-for-Hire Issue: The Post-Reid Fallout (Part 1 New York Law Journal, Dec. 15, 1989, at 5, col. 1.

Kohn, Alan. CircuitCourt Finds Hit Song Infringement ("Boogie Woogie Bugle Boy") New York Law Journal, Aug. 6, 1981, at 1, col. 4. HASTINGS COMM/ENT L.J. [Vol. 13:811

Lauter, David. Ex-Judges Square Off in Court. The National Law Jour- nal, Oct. 22, 1984, at 13, col. 1. (Copyright suit involving song "Who's Sorry Now?").

Rudell, Michael I. Mills Music Decision: Who's Sorry Now? New York Law Journal, Jan. 25, 1985, at 1, col. 1.

Steele, David Ramsay. The Bee Gees Case: Maybe 'IntellectualProperty' Is a Bad Idea. The Los Angeles Daily Journal, Mar. 17, 1983, at 4, col. 3.

Squiers, Deborah, Coca-Cola Loses Bid to Avoid Liability for Copying Melody. New York Law Journal, Jan. 9, 1991, at 1, col. 3.

Squiers, Deborah, Copyright Trial Set to Start on Julio Iglesia'sHit Song. New York Law Journal, Jan. 8, 1991, at 1, col. 3.

3. Public Performance-Licensing Collyer, Michael. New Music Burdens for the T. V Syndicator and Pro- ducer. New York Law Journal, Mar. 11, 1983, at 5, col. 1.

Deutsch, Alvin. The Buffalo Shuffle: Would This Latest Twist Deny Songwriters Payment for Performance? (Part 1) New York Law Journal, Mar. 7, 1986, at 5, col. 1.

Deutsch, Alvin. The Buffalo Shuffle: Would This Latest Twist Deny Songwriters Payment for Performance? (Part 2) New York Law Journal, Mar. 14, 1986, at 5, col. 1.

Dickerson, Thomas A. 'Walkin' with Mr. Lee' Is Big Hit in Federal Court: Synchronization Rights at Issue. New York Law Journal, May 2, 1986, at 5, col. 1. (Angel Music, Inc. v. ABC Sports, Inc., 609 F. Supp. 764 (S.D.N.Y. 1985)).

Green, Richard G. Payment for Music Performing Rights If 'Buffalo Broadcasting' Is Affirmed (Part 1) New York Law Journal, Oct. 21, 1983, at 5, col. 1.

Green, Richard G. Payment for Music Performing Rights If 'Buffalo Broadcasting' Is Affirmed (Part 2). New York Law Journal, Oct. 28, 1983, at 5, col. 1.

Hartnick, Alan J. 'Czar' of Part of the Music Industry and ASCAP Rate Court. New York Law Journal, June 9, 1989, at 5, col. 1. 1991] Music BIBLIOGRAPHY

Hartnick, Alan J. Has BMI an Implied Duty to Negotiate? (Part2 ) New York Law Journal, Oct. 20, 1989, at 5, col. 1.

Hartnick, Alan J. May BMI Arbitrarily Set Ratesfor Broadcasters?(Part 1) New York Law Journal, Oct. 13, 1989, at 5, col. 1.

Pines, Deborah. ASCAP Denied Double Fees on Cable Network Broad- cast. New York Law Journal, July 22, 1991, at 1, col. 4.

Rudell, Michael I. After Broadway Run: Tams Witmark Settlement. New York Law Journal, Mar. 12, 1980, at 1, col. 1.

Rudell, Michael I. The Buffalo Broadcasting Appeal. New York Law Journal, Oct. 26, 1984, at 1, col. 1.

Rudell, Michael I. The Controversial Source Licensing Bill. New York Law Journal, Feb. 28, 1986, at 1, col. 1.

Shemel, Sidney and M. William Krasilovsky. Administration of Perform- ance Rights in Religious Music. New York Law Journal, Mar. 23, 1990, at 5, col. 1.

Soocher, Stan. 2d Circuit Backs Blanket Song Licensing Plan. The Na- tional Law Journal, Oct. 8, 1984, at 10, col. 1.

4. Sound Recordings Rudell, Michael I. Legislation to Deal with Audio Taping. New York Law Journal, Nov. 22, 1985, at 1, col. 1.

Rudell, Michael I. New Mechanical Royalty. New York Law Journal, Apr. 8, 1981, at 1, col. 1.

Shemel, Sidney and M. William Krasilovsky. An Analysis of FederalPro- tection for Sound Recordings. New York Law Journal, Feb. 8, 1985, at 5, col. 1.

Soocher, Stan. Attorneys Make Tracks for Rockers' Royalties. The Na- tional Law Journal, June 8, 1987, at 1, col. 1.

5. Sound Recordings-Piracy Baumgarten, Jon A. Recent Cases: Parallel Imports Under Copyright Law. New York Law Journal, Sept. 1, 1989, at 5, col. 1.

Goldberg, David. Customs, Importation of Copyrighted Works. New York Law Journal, Nov. 16, 1984, at 1, col. 1. HASTINGS COMM/ENT L.J. [Vol. 13:811

Soocher, Stan. He's the No. I Bane of Pirates:CD Copies Worry the Music Business. The National Law Journal, June 19, 1989, at 1, col. 4.

E. Foreign, International, and Comparative Law--Canada Graubart, Jeffrey L. Changes in Canadian Copyright Law. New York Law Journal, Apr. 1, 1988, at 5, col. 1.

F. Free Speech Issues Bolles, Don. Punk v. Prosecutor. The National Law Journal, Sept. 7, 1987, at 6, col. 1. (Singer Jello Biafra is defendant in obscenity trial, People v. Bonanno, Los Angeles).

Brenner, Daniel. Society Shouldn't Rely on Judges to Distinguish Good from Bad. Los Angeles Daily Journal, June 22, 1990, at 6, col. 3.

Brotman, Stuart N. Record of Responsibility. The National Law Journal, July 9, 1990, at 13, col. 1.

Carter, Terry. Judges, Lawyers Try to 'Rap' Up X-Rated Trial: The 2 Live Crew Case. The Los Angeles Daily Journal, Oct. 16, 1990, at 1, col. 2.

Effron, Eric. Musicians, Parents Brace for Battle over Rock Lyrics: Plan to Rate Records Generates Concern About Censorship: Senate Hear- ing Today. The Los Angeles Daily Journal, Sept. 19, 1985, at 1, col. 6.

Kelly, Dan. Texas City Targets Rap Group: Court Before Horse? The Na- tional Law Journal, July 2, 1990, at 3, col. 1.

Perry, Robert T. First Amendment Protection and Street Musicians,Per- formers (Part1) New York Law Journal, Feb. 17, 1989, at 5, col. 1.

Perry, Robert T. Street Musicians Cases: 'PublicForum' Doctrine (Part 2) New York Law Journal, Feb. 24, 1989, at 5, col. 1.

Perry, Robert T. and Carlton Long. Obscenity Law Principles and the Hammond Case (Part2). New York Law Journal, July 20, 1990, at 5, col. 1.

Perry, Robert T. and Carlton Long. Obscenity Law, Hip Hop Music and 2 Live Crew (Part1) New York Law Journal, July 13, 1990, at 5, col. 1. 19911 Music BIBLIOGRAPHY

Seager, Susan. Did a Record Lead to Youths' Suicide Pact? The "Judas Priest" Case. The Los Angeles Daily Journal, Aug. 3, 1990, at 1, col. 2.

Seager, Susan. EntertainmentBar Watching-and Waiting: Who'll Take the Rap? New York Law Journal, June 15, 1990, at 1, col. 2.

Soocher, Stan. It's Bad, It's Def-Is It Obscene? Rap Music Takes a Bad Rap from Prosecutors.The National Law Journal, June 4,1990, at 1, col. 1. (Accompanied by: Anti-Labeling Forces Vigilant).

Vogeler, William. Appeal Court Rules Suicide's ParentsCan't Sue Musi- cian. The Los Angeles Daily Journal, July 14, 1988, at 1, col. 4.

Wells, Debora A. Music Videos and the 1st Amendment. New York Law Journal, Sept. 11, 1987, at 5, col. 1.

Wicker, Tom. Music Censors Want to Ban All Offensive Lyrics. The Los Angeles Daily Journal, Feb. 5, 1990, at 6, col. 3.

Wicker, Tom. Need Labels to Warn of Censorship. The Los Angeles Daily Journal, Feb. 7, 1990, at 6, col. 3.

Wulf, Melvin L. Courts Beat Down Censorship of Music. New York Law Journal, Nov. 22, 1988, at 1, col. 1.

G. Labor Lezin, Valerie. Monopoly Union: Contract Clause Forcing Non-Neutral ArbitrationIs Ruled Unenforceable. The Los Angeles Daily Journal, Mar. 7, 1980, at 1, col. 3.

H. Management, Taxation, and Estate Planning Gage, G. Robert. What to Do When the Money's Gone: Recovery by an Artist from a Manager's Theft. New York Law Journal, Jan. 18, 1991, at 1, col. 1.

Kohn, Alan. Celebrity Held to Be MaritalAsset. New York Law Journal, July 3, 1991, at 1, col. 3.

I. Motion Picture Music Pasich, Kirk A. The Sound of Money. The Los Angeles Daily Journal, Mar. 16, 1989, at 7, col. 1. HASTINGS COMM/ENT L.J. [Vol. 13:811

Price, Todd Alan and Gary Baddeley. Calculating Commissions for Movie Songwriters. New York Law Journal, Feb. 9, 1990, at 5, col. 1.

Price, Todd Alan and Gary Baddeley. The Song's the Thing: Music in Motion Pictures. New York Law Journal, Jan. 26, 1990, at 5, col. 1.

Price, Todd Alan and Gary Baddeley. Synchronization Licenses for Mu- sic in the Movies. New York Law Journal, Feb. 2, 1990, at 5, col. 1.

Rudell, Michael I. Agreement with Composer of Motion-Picture Score. New York Law Journal, Apr. 25, 1986, at 1, col. 1.

Rudell, Michael I. Cohen v. Paramount:Scope of Rights. New York Law Journal, May 27, 1988, at 3, col. 1.

Shemel, Sidney and M. William Krasilovsky. Protecting Property Rights in Recordings: The Licensing of Records for Motion Pictures. New York Law Journal, June 7, 1985, at 5, col. 1.

J. Music Videos

Bomser, Alan H. and Fred E. Goldring. Attorneys Are Confronted with New Legal Issues as Video Music's Popularity Explodes. New York Law Journal, Sept. 30, 1983, at 5, col. 1. (Reprinted in 1984 En- tertainment, Publishing and the Arts Handbook 175-184).

Lesnick, Shari Friedman. Promotionaland Long Form Musical Video Li- censing. New York Law Journal, June 29, 1990, at 5, col. 1.

Orton, Barry and Alan Abramson. Call from the Wild: 'We Want Our MTV'. New York Law Journal, Apr. 19, 1991, at 5, col. 1.

Simensky, Melvin. MTV- Mere Moneymaker or Monopoly? New York Law Journal, Jan. 11, 1985, at 5, col. 1.

Simensky, Melvin. Rights to Music Videos Affected by Classification of Music as 'Dramatic' or 'Non-Dramatic' New York Law Journal, Jan. 17, 1986, at 5, col. 1.

K. Music-Legislation

Chevigny, Paul G. Life Isn't Always a Cabaret. New York Law Journal, Jan. 16, 1987, at 5, col. 1. 1991] Music BIBLIOGRAPHY

Cylkowski, Jeffrey. Musicians May Now Toot Their Horns. New York Law Journal, Mar. 25, 1988, at 5, col. 1.

L. Music-Litigation Adams, Edward A. Pianist Liable Under Contract to Manager. New York Law Journal, Apr. 9, 1991, at 3, col. 1.

Billy Joel's Fraud Complaint Reinstated. New York Law Journal, May 15, 1991, at 1, col. 5.

Guccione, Jean. ConcertgoerSuits Prompt Disclaimersfor Rock Sound: Hearing Losses Claimed. The Los Angeles Daily Journal, Jan. 15, 1988, at 1, col. 2.

Hartnick, Alan J. The Copyright Issues in Boston v. CBS. New York Law Journal, Oct. 5, 1990, at 5, col. 1.

Soocher, Stan. Breaking Up Is Hard to Do: Artist-ManagerSplit Leads to High-Stakes Suit. The National Law Journal, Jan. 17, 1983, at 24, col. 1.

Soocher, Stan. Elvis'Legacy is Safe. The National Law Journal, July 16, 1990, at 1, col. 1.

Soocher, Stan. Hearing-Loss Actions: Their Volume Increases (Part 2) New York Law Journal, Mar. 10, 1989, at 5, col. 1.

Soocher, Stan. Music-Deafening Lawsuits Are Rolling into Court (Part 1) New York Law Journal, Mar. 3, 1989, at 5, col. 1.

M. Parody Goldberg, David. It's a Bird! It's a Plane! It's Parody. New York Law Journal, May 17, 1985, at 1, col. 1. (Comics, Inc. v. Unlimited Mon- key Business, Inc. ).

Goldberg, David. Parody Updated: Garbage PailKids and Sniffing Glue. New York Law Journal, Nov. 21, 1986, at 1, col. 1. (Fisher v. Dees, 794 F.2d 432 (9th Cir. 1986) and Original Appalachian Artworks, Inc. v. Topps Chewing Gum, Inc., 642 F. Supp. 1031 (N.D. Ga. 1986)).

Gordon, Steven R. and Charles J. Sanders. When Parodies Use Musical Allusion to Copyrighted Works (Part 4) New York Law Journal, Feb. 8, 1991, at 5, col. 1. HASTINGS COMM/ENT L.J. [Vol. 13:811

Shaked, Dan. Application of Copyright Act of 1976 to Parody (Part2) New York Law Journal, June 7, 1991, at 5, col. 1.

Shaked, Dan. Copyright Law Applications in Musical Parody Instances (Part3). New York Law Journal, Feb. 1, 1991, at 5, col. 1.

Shaked, Dan. How the Copyright Law Applies to Musical Parody (Part 2). New York Law Journal, Jan. 25, 1991, at 5, col. 1.

Shaked, Dan. Indies, Cable Benefits from Syndication Changes (Part3 New York Law Journal, June 14, 1991, at 7, col. 1.

Shaked, Dan. Strangerin Parodies:Law of Musical Satire (Part1). New York Law Journal, Jan. 18, 1991, at 5, col. 1.

Shaked, Dan. The Use of Sec. 107 in Defending Parodies (Part1). New York Law Journal, May 31, 1991, at 5, col. 1.

N. Practice of Law

Becnel, Barbara Cottman. Record Industry Bar Spins Mean Tune for Cli- ents: They Lure Stars. The Los Angeles Daily Journal, July 9, 1987, at 1, col. 2.

Bomser, Alan H. and Fred E. Goldring. Major Areas in Publishing: The Representation of a Songwriter. New York Law Journal, May 6, 1983, at 5, col. 1.

Guccione, Jean. Mathematician-Turned-LawyerBuilds Career on Music Law. The Los Angeles Daily Journal, Feb. 19, 1988, at B1, col. 1.

Hall, Jennifer. A Fan Helps Blues Artists Recoup. Legal Times, Apr. 20, 1987, at 1, col. 1.

Rudell, Michael I. The Breadth of Substantive Issues. New York Law Journal, May 24, 1991, at 3, col. 1.

Soocher, Stan. Music Law: An Upbeat Specialty. The National Law Jour- nal, Jan. 17, 1983, at 1, col. 3.

0. Record Industry

Rudell, Michael I. The Functions of a PersonalManager. New York Law Journal, Oct. 8, 1980, at 1, col. 1. 1991] Music BIBLIOGRAPHY

P. Right of Publicity Anderson, Cerisse. Claims Cut in Lennon Tapes Suit. New York Law Journal, May 21, 1991, at 1, col. 3.

Hartnick, Alan J. Is Soundalike Protection UnnecessarilyLimited? (Part 1) New York Law Journal, June 15, 1990, at 5, col. 1. (Interview with Leonard Orkin of New York's Davis & Gilbert).

Hartnick, Alan J. Why There Should Be a Limit on Soundalike Protec- tion (Part2). New York Law Journal, June 22, 1990, at 5, col. 1. (Conclusion of interview with Leonard Orkin of New York's Davis & Gilbert).

Rudell, Michael I. Incidental Use of a Person's Name and Likeness. New York Law Journal, July 26, 1991, at 3, col. 1.

Seager, Susan. 'Sound-alike' Suits Getting More Attention: Now Playing: Tom Waits. The Los Angeles Daily Journal, Apr. 9, 1990, at 1, col. 2.

Shaw, Daniel A. Entertainment, Ad Bars Watch Midler Trial: 'Sound- alike' Suit Seen as Prompting Numerous Others: Bette Sings 'It's a Ripoff" The Los Angeles Daily Journal, Oct. 27, 1989, at 1, col. 6.

Sugarman, Robert G. Conflict Sharpens over Rights of Publicity, Free Press. Legal Times, Apr. 11, 1983, at 16, col. 1.

Q. Trademarks and Unfair Competition Hartnick, Alan J. Protecting Expressive Interests in Intellectual Property Law. New York Law Journal, Apr. 5, 1991, at 5, col. 7.

Kaufman, Ian Jay, Melvin Simensky, and Lanning G. Bryer. Securities Interests in Intellectual Property. New York Law Journal, June 28, 1991, at 5, col. 1.

Kohn, Alan. Rap Singer Entitled to Use Name "Essence." New York Law Journal, July 30, 1991, at 1, col. 3.

Lewis, Jon A. Issue of Venue in Federal Trademark Infringement Cases. New York Law Journal, Feb. 22, 1991, at 5, col. 1.

Pasich, Kirk A. Guess Who Are Calling Themselves the Guess Who. The Los Angeles Daily Journal, Nov. 2, 1989, at 7, col. 1. 884 HASTINGS COMM/ENT L.J. (Vol. 13:811

Rudell, Michael I. Ownership of 'New Edition' Mark New York Law Journal, Oct. 24, 1986, at 1, col. 1.

Rudell, Michael I. Protecting Group Name. New York Law Journal, May 27, 1982, at 1, col. 1. 1991] Music BIBLIOGRAPHY

IV Books A. Bibliographies Watts, Tim J. Visual and PerformingArtists and the Law: A Select Bibli- ography, 1980-1989. Public Administration Series: Bibliography No. P-2747. Monticello, IL: Vance Bibliographies, 1989. 20 pp.

B. Career Guides Baskerville, David. Music Business Handbook & CareerGuide. Foreword by Stan Cornyn. 5th ed. Los Angeles, CA: Sherwood Publishing Co., 1990. 541 pp. Includes sections on songwriting, publishing, copyright, business affairs, the record industry, music in broadcasting and film, career planning and development. Appendices contain forms, international copyright information, music studies in higher education, and a list of professional organizations. Also includes a glossary and bibliography.

Busnar, Gene. Careersin Music. New York, NY: Messner, 1982. 255 pp.

Field, Shelly. Career Opportunities in the Music Industry. 2d ed. New York, NY; Oxford, UK: Facts on File Publications, 1990. 278 pp. Provides a position description and specifics such as salary range and employment prospects for each career. Careers are grouped under broad categories such as "Recording and the Record Business," "The Business End of the Industry," and "Publicity." Also includes appendices which list unions and associations, record companies, music publishers, rights societies, and other organizations. Bibliography: pp. 262-266.

Henslee, William D. Careers in Entertainment Law. Edited by Sara Vlajcic. Chicago, IL: American Bar Association, 1990. 119 pp. A joint project of the American Bar Association's Standing Commit- tee on Professional Utilization and Career Development and the Law Student Division. Information was gathered from questionnaires solicited from practitioners in the field and from interviews with attorneys. Includes a chapter on music. Appendices list trade publications, industry organizations, and entertainment law firms. Glossary: pp. 66-68. Bibliography: pp. 69-71.

Weissman, Dick. The Music Business: Career Opportunitiesand Self-De- fense. New, rev., updated ed. New York, NY: Crown Publishers, 1990. 264 pp. Part 1 describes the whole process of recording and publishing music; Part 2 describes a wide variety of specific careers in music such as studio work and engineering, composing and arranging, concert pro- HASTINGS COMM/ENT L.J. [Vol. 13:811

motion, music performance, songwriting, music education, writing and publication of written music, music criticism, music library careers, musical instrument manufacturing, music therapy, piano tuning, arts management, and music retailing and wholesaling. Appendices: College Music Business Programs; Music Business Orga- nizations. Glossary: pp. 232-234. Bibliography: pp. 235-259.

C. Contracts Bagehot, Richard. Music Business Agreements. London, UK: Waterlow Publishers, 1989. 522 pp. A very detailed guide, intended for the lay person, through the terms of various types of music industry contracts, including management agreements, agency agreements, personal appearance contracts, artist's recording agreements, independent record production agreements, record producers' agreements, music publishing agreements, group administration agreements, and merchandising and endorsement agreements.

Farber, Donald C., editor. EntertainmentIndustry Contracts:Negotiating and Drafting Guide. New York, NY: Matthew Bender, 1986-. 4 v. (loose-leaf): forms. INCLUDES: Vol. 4-Fox, Samuel J., editor. Music. There are also a few music-related contracts in the volumes on motion pictures, television, and theater.

Legal Documents: Sample Contracts Commonly Used in the Music Busi- ness. Hollywood, CA: Roger Farris Music Service, 1986. 96 pp.

Livingston, Robert Allen. The Recording Contract. Cardiff by the Sea, CA: GLGLC Music, 1988. 36 pp.

Livingston, Robert Allen. The Songwriter/PublisherContract. Cardiff by the Sea, CA: GLGLC Music, 1985. 19 pp. Discusses a few basics of contract law as well as each of 40 separate clauses which might be part of a songwriter/publisher contract.

D. Copyright and Related Rights

Althouse, Jay. Copyright: The Complete Guide for Music Educators. East Stroudsburg, PA: Music in Action, 1984. 71 pp. This is not a how-to book. It explains why under certain circumstances one is permitted to photocopy without permission and why under other circumstances permission or royalty payments are required. It provides an introduction to copyright law and the history and origin of U.S. copyright law. It then relates the law to specific aspects of music education, including photocopying, performing, arranging, and recording. Glossary: pp. 67-70. 1991) Music BIBLIOGRAPHY

Erickson, J. Gunnar, Edward R. Hearn, and Mark E. Halloran. Musi- cian's Guide to Copyright. Rev. ed. New York, NY: Scribner's, 1983. 128 pp. Sponsored by Bay Area Lawyers for the Arts and intended to give songwriters, musicians, managers and attorneys a working knowledge of U.S. copyright law. Provides an overall view with chapters on: obtaining a copyright, duration and transfer of copyright, income from music, and infringement.

Johnston, Donald F. Copyright Handbook 2d ed. New York, NY: R.R. Bowker, 1982. 381 pp. INCLUDES: Copyright Royalty Tribunal's Royalty Allocation and Rate-Making Decisions Affecting Copyright Owners and Recording, Jukebox, and Cable TV Industries.

Moroniak, Steve. Copyright and Song Protection. Rolling Meadows, IL: S.P. Moroniak, Reel Productions, 1989. 61 pp.: forms. Written to provide the songwriter with a basic knowledge of song protection and copyright. "Featuring a special section on songsharks- and how to avoid them" - Cover. Bibliography: p. 40. "Songwriters Organizations": pp. 42- 46.

The Official Fair-Use Guidelines. 4th ed. Friday Harbor, WA: Copyright Information Services, 1989. 24 pp. Includes Guidelines for Educational Use of Music.

Shaper, Sue Z. Copyright for Performing and Literary Artists. Houston, TX: Texas Accountants and Lawyers for the Arts, 1988. 44 pp.

1. European Communities Davies, Gillian and Hans Hugo Von Rauscher auf Weeg. Challenges to Copyright and Related Rights in the European Community. Oxford, UK: ESC Pub. Ltd., 1983. 271 pp. Bibliography: pp. 253 -258.

2. International Committee of Governmental Experts on Dramatic, Choreographic and Musical Works. Report. Paris, FR: Unesco; Geneva, Switz: WIPO, 1987. 15, 9 pp. Report adopted by the Committee, dated "26 June 1987" on the title page. The Directors-General of Unesco and WIPO jointly convened the Committee at Unesco Headquarters in Paris from 11 to 15 May 1987 to discuss various copyright issues arising in relation to dramatic, choreographic and musical works. Experts from 41 countries HASTINGS COMM/ENT L.J. (Vol. 13:811 and observers from 15 international organizations participated in the meeting.

Stewart, Stephen M., assisted by Hamish Sandison. International Copy- right and Neighboring Rights. 2d ed. London, UK: Butterworths, 1989. 1033 pp. Bibliography: pp. 993-1012.

3. United Kingdom Ehrlich, Cyril. HarmoniousAlliance: A History of the Performing Right Society. Oxford, UK; New York, NY: Oxford University Press, 1989. 183 pp.

Lahore, James, Gerald Dworkin, and Yvonne M. Smyth. Information Technology: The Challenge to Copyright. London, UK: Sweet and Maxwell; Centre for Commercial Law Studies, 1984. 116 pp. Papers originally prepared for presentation at a course of lectures in June 1983 sponsored by the Intellectual Property Unit in the Centre for Commercial Law Studies at Queen Mary College, University of London. Includes "Audio and Video Recording," by Yvonne Smyth. Includes bibliographical references.

McFarlane, Gavin. A PracticalIntroduction to Copyright. Consulting editors: Richard W.L. Howells and Branda N. Barrett. London, UK; New York, NY: McGraw-Hill (UK), 1982. 235 pp. INCLUDES: The Music Industry; Music Industry Problems: Revolu- tionary Rights and Arrangements; Copyright in Sound Recordings; and Copyright Act 1956 and the Green Paper on Copyright Law Re- form (Appendix).

4. Sound Recordings Conventionfor the Protectionof Producersof Phonograms Against Unau- thorized Duplication of Their Phonograms of October 29, 1971. WIPO Publication No. 288 (E). Geneva, Switz: World Intellectual Property Organization, 1987. 7 pp.

Copyright Protection of Foreign Sound Recordings: Report by National Economic Research Associates. London, UK: Her Majesty's Station- ery Office, 1989. 109 pp. This study, commissioned by the Department of Trade and Industry and the Home Office, assesses the economic effects of a change from the criterion of "first publication" to that of "first fixation" as a basis for protecting the broadcasting and public performance rights of foreign sound recordings in the United Kingdom. The purpose of the 19911 Music BIBLIOGRAPHY

report is to inform the Government in its consideration of changes in the UK copyright law. Glossary: pp. 96-97.

Davies, Gillian. Piracy of Phonograms: A Study Requested by the Com- mission of the European Communities. 2d ed. Oxford, UK: ESC Publishing Limited for the Commission of the European Communi- ties, Cultural Sector, 1986. 151 pp. A comparative study of the problem of piracy of phonograms in the countries of the EEC. Analyzes the methods available to combat piracy in each country, including the international conventions to which they are parties and their legislation or regulations. The report also makes proposals for action. Tables show economic and marketing information for the recording industry in EEC countries. Includes bibliographical references.

Great Britain. Monopolies and Mergers Commission. Collective Licensing: A Report on Certain Practices in the Collective Licensing of Public Performanceand BroadcastingRights in Sound Recordings. London, UK: Her Majesty's Stationery Office, 1988. 58 pp. Presented to Parliament by the Secretary of State for Trade and In- dustry by Command of Her Majesty, December 1988.

Plante, Sylvi. Discussion sur la Licence Obligatoire de Reproduction Mechanique. Rev. ed. Quebec, Can: Gouvernement du Quebec, Ministere des Affaires Culturelles, Service Gouvernemental de la Propriete Intellectuelle et du Statut de l'Artiste, 1986. 83 pp. Includes bibliographical references. Bibliography: pp. 74-83.

E. Dictionaries and Directories Hollander, Brock. The Rock Who's Who: A BiographicalDictionary and CriticalDiscography. New York, NY: Schirmer Books/Macmillan; London, UK: Collier Macmillan, 1982. 686 pp.

Livingston, Robert Allen. Livingston's Complete Music Business Refer- ence. Cardiff by the Sea, CA: La Costa Music Business Consultants, 1988. 2 v. This book is for anyone who is associated with or anticipating in- volvement in the music industry. The author explains legal and non- legal music business terms in an understandable manner and cross- references related terms. Bibliographies: v.1, p.383; v.2, p. 418.

McNeil, Barbara and Miranda C. Herbert, editors. PerformingArts Biog- raphy Master Index: A Consolidated Index to Over 270,000 Bio- graphicalSketches of Persons Living and Dead, As They Appear in HASTINGS COMM/ENT L.J. [Vol. 13:811

over 100 of the PrincipalBiographical DictionariesDevoted to the Performing Arts. 2d ed. Detroit, MI: Gale Research, 1982. 701 pp.

Music Industry Directory. 7th ed. Chicago, IL: Marquis Who's Who Inc., 1983. 678 pp.

Rachlin, Harvey. The Encyclopedia of the Music Business Cambridge, MA: Harper & Row, 1981. 524 pp. Contains alphabetically arranged entries for persons, companies, organizations, publications, etc., which are involved in the "selling of music." Touches on many different areas including copyright law, record distribution, music publishing, recording, and unions.

York, William. Who's Who in Rock Music. New York, NY: Scribner's, 1982. 413 pp.

F. Foreign, International, and Comparative Law

Peeperkorn, David, editor. Limitation of Free Bargainingand Sanctity of Contracts with PerformingArtists and Composers: Reports Presented at the Meeting of the International Association of Entertainment Lawyers, Midem 1987, Cannes. Apeldoorn, Neth; Antwerpen, Belg: MAKLU Publishers, 1987. 121 pp. Comprises the reports of the 12th meeting of the International Asso- ciation of Entertainment Lawyers, held on 26 January 1987 in Cannes, on the occasion of MIDEM, the annual fair of the music business. Reports discuss issues such as the legal position of performing artists, composers, and managers under national laws; the basics of contracts law; what happens when there is a breakdown of the relationship between artist/composer and manager/publisher/record company; and case studies.

Peeperkorn, David, editor. Merchandising and Sponsorship in the Music Business: Reports Presentedat the Meeting of the InternationalAsso- ciation of EntertainmentLawyers, Midem 1986, Cannes. Apeldoorn, Neth; Antwerpen, Belg: MAKLU Publishers, 1986. 120 pp.: forms. Comprises the reports of the 11th meeting of the International Asso- ciation of Entertainment Lawyers, held on 27 January, 1986 in Cannes, on the occasion of MIDEM, the annual fair of the music business. Reports are written by legal practitioners specializing in copyright and entertainment law, from the U.S., the U.K., Canada, Germany, Belgium and the Netherlands, and France. Includes bibliographical references.

Peeperkorn, David and Cees van Rij, editors. Collecting Societies in the Music Business: Reports Presentedat the Meeting of the International 1991] Music BIBLIOGRAPHY

Association of Entertainment Lawyers, Midem 1989, Cannes. Apel- doom, Neth; Antwerpen, Belg: MAKLU Publishers., 1989. 161 pp. Contains essays submitted as papers to the 14th Meeting of the Inter- national Association of Entertainment Lawyers held on January 21 and 22, 1989 at the occasion of MIDEM, the annual fair of the music business in Cannes, France. Includes a "Survey of Collecting Socie- ties" of various countries giving information on such topics as the scope of a society's administration and control, the constitution and membership of the society, and the collection and distribution of royalties and fees.

Peeperkom, David and Cees van Rij. Music and the New Technologies - Soundtracks, Cable and Satellite, Rentals of CD's, Computers and Music, Sound Sampling, Cover Versions: Reports Presented at the Meeting of the InternationalAssociation of Entertainment Lawyers, Midem 1988, Cannes. Apeldoorn, Neth; Antwerpen, Belg: MAKLU Publishers, 1988. 207 pp. Papers presented at the 13th meeting of the International Association of Entertainment Lawyers held on 25th and 26th January, 1988 in Cannes on the occasion of MIDEM, the annual fair of the music business. Essays are by authors from the U.S., the U.K., Germany, France, Italy, and the Netherlands. Includes bibliographical references.

Turton, Julian and Cees van Rij, editors. Neighbouring Rights: Artists, Producers and Their Collecting Societies; Reports presented at the Meeting of the InternationalAssociation of Entertainment Lawyers, Midem 1990, Cannes. Apeldoorn, Neth; Antwerpen, Belg: MAKLU Publishers., 1990. 164 pp. Contains essays submitted as papers to the 15th Meeting of the Inter- national Association of Entertainment Lawyers held on January 21 and 22, 1990 at the occasion of MIDEM, the annual fair of the music publishing business in Cannes, France. Includes the following essays on international issues: International Conventions and the Conflict of Rights: There is More Between the Pen and the Ear than Just the Score, by R.A.E. Stuyt; The Road to 1992-Some Aspects of EC Law, by C. van Rij; and The Rights of Producers of Phonograms- Preparing for the Market of the 1990's, by G. Davies. Another section of the book comprises national reports from Denmark, France, Netherlands, Germany, Italy, Spain, United Kingdom, and the United States. Includes bibliographical references.

PRS Yearbook London, UK: Performing Right Society, 1988-. Annual. Continues The Performing Right Yearbook, 1977-1987/88. HASTINGS COMM/ENT L.J. [Vol. 13:811

G. Labor Seltzer, George. Music Matters: The Performerand the American Federa- tion of Musicians. Metuchen, NJ: Scarecrow Press, 1989. 343 pp. A history of the development of the Federation from its beginning in the 19th century to the present. Through the history of this organization, the development of musical performance and performers in the U.S. and Canada is also traced. Chapter Notes and Bibliography: pp. 243 -318.

H. Merchandising and Sponsorship Townley, Stephen and Edward Grayson. Sponsorship of Sport, Arts, and Leisure: Law, Tax, and Business Relationships. London, UK: Sweet & Maxwell, 1984. xliii, 333 pp.: forms. This book is written for lawyers as well as for arts administrators, their agents and business advisors. It relies on English law and makes occasional references to international, Commonwealth and U.S. law. There is an emphasis on the practical business and tax aspects of sponsorship. Includes tables of authorities and bibliographical references.

I. Music Videos Denisoff, R. Serge. Inside MTV New Brunswick, NJ: Transaction Pub- lishers, 1988. 373 pp. The chronicle of MTV and how it created a major breakthrough in music broadcasting. The book discusses the personalities, promotions and content that made MTV the leader in music cablecasting. Bibliog- raphy: pp. 339-356. Includes bibliographical references.

Kaplan, E. Ann. Rocking Around the Clock: Music Television, Postmodernism, and Consumer Culture. London, UK; New York, NY: Routledge, 1988. 196 pp. A study of rock music videos as exhibited through the institution of MTV. Discusses MTV as a commercial, popular institution, and specifically as a "televisual apparatus." Also discusses its place in today's youth culture. Bibliography: 181-185.

J. Practical and Legal Aspects of the Music Business Biederman, Donald E., et al. Law and Business of the EntertainmentIn- dustries. Dover, MA: Auburn House Publishing Co., 1987. xvi, 697 PP. Practice-oriented text and compendium of cases. Includes chapters on contract considerations; music publishing; sound recordings; agents, managers, attorneys, and promoters; and personal rights. Also includes a table of cases. 1991] Music BIBLIOGRAPHY

Eliot, Marc. Rockonomics: The Money Behind the Music. New York, NY: Watts, 1989. 290 pp. The book illuminates the big business aspects of rock and roll. It explains the roles of all the major players including managers, songwriters, artists, producers, record company executives, and entertainment lawyers. Bibliography: pp. 276-279.

Entertainment Law. Albany, NY: New York State Bar Association, En- tertainment Arts and Sports Law Section. 1989. xvii, 515 pp.: forms. Includes the following chapters: Phonograph Record Industry, by David A. Braun; Music Publishing, by Michael Perlstein; Copyright and New Technologies, by E. Gabriel Perle and Christopher A. Meyer; Minors' Contracts, by Marc Jacobson; and Personal Manage- ment, by Howard Siegel. Includes bibliographical references.

Entertainment, Publishing and the Arts Handbook New York, NY: Clark Boardman Co., 1983-. Annual. An annual compilation of articles from various areas of the entertainment field, including music. Articles are indexed by topic in the "Ar- ticles" section of this bibliography.

Fink, Michael. Inside the Music Business: Music in Contemporary Life. New York, NY: Schirmer Books; London: Collier Macmillan, 1989. 401 pp. Broader in scope than some other introductory texts on the music business, this book includes the history and musical trends of the record business, radio music, American musical theater, and American concert and opera music. The author also addresses the more practical aspects of songwriting and record production, and includes a section on ."music in business settings," which discusses Muzak(R), taped background music, and the retail music business. Includes bibliographical references. Glossary: pp. 375-382.

Klavens, Kent J. Protecting Your Songs and Yourself Cincinnati, OH: Writer's Digest Books, 1989. 112 pp. A basic legal guide for songwriters and their representatives, explain- ing self-help procedures for general and simple legal issues. The guide covers copyright, taxes, contracts, and other legal topics.

Law, Simon and Eric Lives. Keep Music Legal: From the Manuscript to Mass Production. 2d ed. London, UK: Sea Dream Music, 1986. 70 PP. Written for the non-lawyer in the music business. Appendix contains list of "Organisations and Societies." Bibliography: pp. 64-70.

Martin, George, editor. Making Music: The Guide to Writing, Performing and Recording. New York, NY: W. Morrow, 1983. 352 pp. HASTINGS COMM/ENT L.J. [Vol. 13:811

Muench, Ter and Susan Pomerantz. Attn: A&R. New updated ed. Van Nuys, CA: Alfred Publishing Co., 1988. 116 pp. A step-by-step guide to the recording industry for artists and songwriters. Glossary: pp. 68-71. Music and industry source list: pp. 72- 115. Recording and engineering publications: p. 116.

Murphy, Alexander. Law and the Entertainment Business: An Introduc- tory Guide. Philadelphia, PA: Philadelphia Volunteer Lawyers for the Arts, 1982. 43 pp.: forms.

O'Shea, Shad. Just for the Record. Cincinnati, OH: Positive Feedback Communications Press, 1986. 699 pp.: forms. This book is addressed to songwriters and aims to teach them all the pitfalls of the music publishing and recording business. Contains samples of contracts and other forms such as royalties statements. There are chapters on every aspect of the business, including separate chapters on ASCAP, SESAC, and BMI. Popular Music Periodicals: pp. 666-672. List of Musical Organizations: pp. 674-679. Glossary of Terms: pp. 680-697.

Orenstein, Harold and David E. Guinn. EntertainmentLaw & Business: A Guide to the Law and Business Practices of the EntertainmentIn- dustry. Salem, NH: Butterworth Legal Publishers, 1989-. 1 v. (looseleaf). Part I outlines the elements and interrelationships of entertainment laws including U.S. copyright, trademark and unfair competition laws; publicity and privacy law; and international conventions. Part II presents commentaries on the practice of entertainment law, including a chapter on music. Part III contains sample forms. There is also a Directory of Guilds, Unions, and Other Organizations and reprints of U.S. copyright statutes.

Orobko, William. The Musician's Handbook: A Practical Guide to the Law and Business of Music. Vancouver, Can: International Self- Counsel Press; Seattle, OR: Self-Counsel Press, 1985. 189 pp. Advice for band members on managing their business affairs. Espe- cially good for musicians who have little or no experience in the music business. Covers selecting a type of business organization; protecting the band's name; choosing personal representatives, lawyers and accountants; keeping business records; obtaining insurance; signing contracts; registering copyrights; selecting a publisher; recording demos; and using promo kits. Appendix: Mailing Addresses for the Music Business: pp. 181-185. Bibliography: pp. 187-189.

Reed, Gregory J. This Business of Entertainment & Its Secrets Washing- ton, DC: New National Publishing Co., 1985. 299 pp.: forms. 1991] Music BIBLIOGRAPHY

This volume provides practical information about the entertainment industry which has general application in various areas such as concert promotion or managing an entertainer. It can serve as a reference manual for questions such as how the manager and artist relationship should be structured, how to survive being a promoter, financial planning for the artist, IRS guidelines regarding concert events, and tap- ping income from personal appearances and ancillary rights. It also includes checklists, forms, and pleadings used in entertainment litigation. Bibliography: pp. 298-299.

Rudell, Michael I. Behind the Scenes: PracticalEntertainment Law. New York, NY: Law and Business, Inc./Harcourt Brace Jovanovich, 1984. 270 pp. This is a compilation of the author's articles published in the New York Law Journal and Variety, and his speeches. The articles were selected to provide useful information relating to legal and business aspects of the entertainment industry. Topics covered include rights of privacy and publicity, trademarks and credits, copyright protection, representation, plays, films, television, music, and new technologies.

Selz, Thomas D. and Melvin Simensky. Entertainment Law: Legal Con- cepts and Business Practices. Volume 2A and 1990 Supplement Co- Authored by Patricia Acton. Colorado Springs, CO: Shepard's/Mc- Graw-Hill, 1983 -. 4 v. (loose-leaf). Volume 1 addresses the structure of the entertainment industry, financial aspects of that industry, and the nature of contract disputes which arise in that context. Volume 2 covers unfair competition, right of privacy, right of publicity, libel, and remedies. Volume 2A covers artistic control, grant of rights, and representations, warranties, and indemnities. Volume 2A also includes a Glossary of Entertainment Industry Terms and tables for cases, statutes, authorities and selected names. Volume 3 is devoted to sample forms, including music forms. Includes bibliographical references.

Shagan, Rena. The Road Show. Illustrations by Blair Thornley. New York, NY: ACA Books, 1985. 267 pp. This book maps out the basic flow of the booking process for touring companies of different disciplines of the performing arts. The text is supplemented with chapters written by Susan Hardy (booking and tour management from the presenter's perspective), Art Becofsky (international booking and tour management), and M. Kay Barrell (the technical end of touring). Appendices: Sample contracts (pp. 224- 235); Tour manager's resource kit (pp. 236-246); Technical information questionnaire (pp. 247-256); Technical glossary (pp. 257-258); Resources (pp. 259-263); and Bibliography (p. 264). HASTINGS COMM/ENT L.J. [Vol. 13:811

Shemel, Sidney and M. William Krasilovsky. More About This Business of Music. Rev. and enl. 4th ed. Original ed. edited by Lee Zhito. New York, NY: Billboard Books, 1989. 240 pp.: forms. Consists of additional topics and material not contained in the authors' book, This Business of Music. Part I deals with the business of "serious music" such as symphonies, chamber music, operas, and choral works. It also includes sections on religious music and jazz. Part II deals with other aspects of music such as the production and sale of printed music, background music and transcriptions, and live performances.

Shemel, Sidney and M. William Krasilovsky. This Business of Music. Rev. and enl. 6th ed. New York, NY: Billboard Books, an imprint of Watson-Guptill Publications, 1990. 688 pp. A comprehensive text covering all aspects of the law and operation of the music business. The contents is divided into three main parts: Re- cording Companies and Artists; Music Publishers and Writers; and General Music Industry Aspects. Appendices include the texts of copyright laws and regulations and many sample contracts. This sixth edition describes recent changes such as U.S. adherence to the Berne Convention, the acceleration of mergers and consolidations in the music publishing and record industries, the growth of the European Communities market, and digital audio tape (DAT) technology. Bib- liographies: pp. 604 -611.

Siegel, Alan H. Breakin' In-To the Music Business. Port Chester, NY: Cherry Lane Books, 1983. 274 pp. Aimed at the songwriter and recording artist, this book provides a working knowledge of the language of the music business; the basics of music publishing and record deals; and how to acquire the professional help which is needed. Includes interviews with well-known artists, managers, and other industry leaders. Glossary ("Lexicon Plus"): pp. 3-21.

Simensky, Melvin and Thomas D. Selz. Entertainment Law. 1989 Re- print. Analysis and Skills Series. New York, NY: Matthew Bender, 1984. 909 p. This is a casebook which uses case law, sample individual agreements, collective bargaining agreements, and newspaper and magazine articles as source material. Entertainment law as defined here includes movies, television, live theater, music, and print publishing. The book covers many issues common to all five branches of entertainment law. Includes Table of Cases and bibliographical references.

Weissman, Dick. Music Making in America. New York, NY: F. Unger, 1982. 147 pp. 19911 Music BIBLIOGRAPHY

1. Australia Sharpe, Diana. The Performing Artist and the Law. North Ryde, N.S.W, Aust: Law Book Co. Ltd., 1985. 204 pp.: forms. Sponsored by The Arts Law Centre of Australia. Emphasizes theatrical performances, but also has applications to musical performances. Bibliography: pp. xv-xvi.

Simpson, Shan and Greg Stevens, editors. Music: The Business and the Law. North Ryde, N.S.W., Austl: Law Book Co. Ltd., 1986. 247 pp. This volume, sponsored by The Arts Law Centre of Australia, provides a practical introduction to the music industry in Australia. In- cludes a table of cases and a glossary. Glossary: pp. 237-240. Bibliography: pp. 180-181.

2. Canada Sanderson, Paul. Musiciansand the Law in Canada.Toronto, Can: Cars- well Co. Ltd., 1985. xxxi, 258 pp.: forms. Source book of Canadian laws affecting musicians in their business affairs. Includes notes on U.S. law since it often interacts with Cana- dian law. Contents divided into the following main parts: Composers, Copyright and Music Publishing; Performers, Live Performance and Related Activities; and Structuring Business Affairs. Includes Table of Cases and bibliographical references.

3. United Kingdom Cotterell, Leslie E. Performance. 2d ed. Eastbourne, East Sussex, UK: John Offord Publications, 1984. 598 pp.

K. Record Industry Connelly, Will. The Musician's Guide to Independent Record Production. Chicago, IL: Contemporary Books, 1981. 208 pp.

Dannen, Fredric. Hit Men: A True Tale of Power, Money, and Mayhem in the World of Rock and Roll. New York, NY: Times Books, 1990. 385 pp. A business and financial journalist chronicles the development of some of the biggest record companies in pop and rock music. He tells the stories of behind-the-scenes power struggles at CBS Records, Ca- sablanca Records, and others. "Debts and Sources": pp. 329-370.

Denisoff, R. Serge. Solid Gold: The Popular Record Industry. New Brunswick, NJ: Transaction Books-Rutgers, 1981. 504 pp. HASTINGS COMM/ENT L.J. [Vol. 13:811

Denisoff, R. Serge. Tarnished Gold: The Record Industry Revisited. With the assistance of William L. Schurk. New Brunswick, N.J.: Transac- tion Books, 1986. 487 pp. A study by a social scientist of popular music and its relation to mod- em culture. Included is a look at the "star-making machinery" of the record companies and the effect of music videos on the music industry. Includes bibliographical references.

Fara, Frank. How to Open Doors in the Music Industry: The Independent Way. With a special chapter on the producer by Patty Parker. Bev- erly Hills, CA: Autumngold Publishing; Shawnee Mission, KS: Dis- tributed by Starfield Press, 1986. 80 pp.

Rapaport, Diane Sward. How to Make and Sell Your Own Record: The Complete Guide to Independent Recording. Rev. 3d ed. Jerome, AZ: Jerome Headlands Press; New York, NY: Perigee Books; Music Sales Corporation, New York, NY: 1988. 183 pp. The title says it all. Contents includes technical as well as business and legal aspects of independent recording, covering topics such as promotion and sales, printing and graphics, manufacturing process, recording procedures, and song rights. There are business planning worksheets in the back of the book. Some separately written articles appear in appendices: New Technologies, by Craig Anderson; Financ- ing Recordings, by Edward R. Hearn and J. Gunnar Erickson; Negoti- ating Record Contracts, by Edward R. Heam and J. Gunnar Erickson; and Selling Your Record in Foreign Markets, by Holger Pe- terson. Directory and Bibliography: p. 179.

Riordan, James. Making It in the New Music Business. Cincinnati, OH: Writer's Digest Books, 1988. 377 pp. Guide for songwriters and musicians, covering all aspects of success- fully recording music. Part 1, Getting Started, includes choosing the right songs and making an artist demo. Part 2, Creating the Product, includes selecting a recording team, preparing for the studio, creating album covers and press kits, and promoting and publicizing the recording. Includes bibliographical references.

Wadhams, Wayne. Sound Advice: The Musician's Guide to the Record Industry. New York, NY: Schirmer Books; London: Collier Mac- millan, 1990. 545 pp. This guide provides an in-depth analysis of the music recording business. Chapters include cash flow; music publishing; record companies; artists; broadcast royalties; representation; partnerships; marketing; negotiating and contracts. Appendices provide information on performance societies, unions, music organizations and copyright forms. Bibliography: pp. 535-538. 1991] Music BIBLIOGR"LIHY

L. Taxation Striggles, Theodore and Barbara Sieck Taylor, editors. Fearof Filing: A Beginner's Guide to Tax Preparationand Record Keeping for Artists, Performers, Writers, and FreelanceProfessional& Volunteer Lawyers for the Arts. 1984 ed. New York, NY: Dodd, Mead, 1983. 143 pp.

Tax Guidesfor Patents, Trademarks and Copyrights. 5th ed., Patent Law Association of Chicago. Taxation Committee. New York, NY: Clark Boardman Co., 1984. 158 pp.

M. Writing and Publishing Hurst, Walter E. The Publisher's Office Manual: How To Do Your Paperwork in the Music Publishing Industry. Entertainment Indus- try Series; v. 3. Hollywood, CA: Seven Arts Press, 1986. 98 pp.: forms. Contains practical information, sample letters, and forms. Designed for the secretary of a music publishing company.

Koller, Fred. How to Pitch & Promote Your Songs. Cincinnati, OH: Writer's Digest Books, 1988. 114 pp. This book is for the songwriter who wants to publish his or her own songs. It includes advice on how to get material to an artist and to the ultimate consmer. It explains the nuts and bolts of starting a publishing business, marketing, and getting paid.

Warner, Jay. How to Have Your Hit Song Published. 2d ed. Milwaukee, WI: Hal Leonard Books, 1988. 256 pp. A reference book for amateur and professional songwriters intended to provide practical advice as well as general background information to help songwriters develop a better understanding of the writer/publisher relationship and the music business as a whole. Includes chapters on the general history of music publishing in America, copyright law, performing rights societies, how to present your song, how to choose a publishing company, how a publishing company works, publishing contracts, foreign markets, and new technologies. There are appendices listing U.S. songwriter organizations, licensing societies, record labels, artists and their managers, record producers, music publishers, and commonly used forms of the performing rights societies. Glossary: pp. 252-256. HASTINGS COMM/ENT L.J. (V/ol. 13:811

V Legal Institute Program Materials A. ABA Forum on the Entertainment and Sports Industries Legal and Business Aspects of the Music Industry, 1990. Presented by the American Bar Association Forum on the Entertainment and Sports Industries in conjunction with Hastings Communications and En- tertainment Law Journal (CoMM/ENT), Oct. 6, 1990, Hastings Col- lege of the Law, San Francisco, CA. Chicago, IL: American Bar Association. 1 v. (various pagings): forms. INCLUDES: Negotiation of the Co-PublishingAgreement, by Ed Pier- son; Co-Publishing Agreement Forms; Exclusive Songwriter Agree- ment; Administration Agreement; Subpublishing Agreement; Record Agreement Forms; and Production Company Recording Agreement.

Music Publishing and the Law, 1989. Presented by the American Bar Association, Forum on the Entertainment and Sports Industries, Nov. 17-18, 1989, Vanderbilt Plaza Hotel, Nashville, TN. Chicago, IL: American Bar Association. 1 v. (various pagings): forms. INCLUDES: Songwriter, Co-Publishing, and Administration Agree- ments; Foreign Publishing Issues; and Music in Television and Mo- tion Pictures.

EntertainmentLitigation 1988. Presented by the American Bar Associa- tion, Forum Committee on the Entertainment and Sports Indus- tries. Chicago, IL: American Bar Association. 1 v. (various pagings). Text discusses very specific issues of lawsuits and litigation as they relate to the entertainment industry, providing insight to litigators and practitioners interested in entertainment issues and who need additional knowledge on litigation of entertainment contracts.

Insurance for the Entertainment, Fine Arts and Sports Industries. Presented by the American Bar Association Forum on the En- tertainment and the Sports Industries and Section of Tort and Insur- ance Practice, Mar. 18, 1988, New York, NY. Chicago, IL: American Bar Association, 1988. 1 v. (various pagings). Materials deal with insurance issues involved in holding events in sports arenas and other facilities. Includes insurance forms, case reports, and bibliographical references.

Recording, Management, and Agency Contracts in the Music Industry. Presented by the American Bar Association, Forum Committee on the Entertainment and Sports Industries. Chicago, IL: American Bar Association, 1988. 1 v (various pagings). 1991] Music BIBLIOGRAPHY

Focuses on specific issues in negotiating and drafting recording contracts, management, and agency agreements. Also discusses lawyers who manage music artists. Emphasis on contracts that precede and supplement recording contracts, specifically production company agreements, producer agreements, speculation and finder's fee agreements. Includes sample management contract forms, agency forms, and recording contracts.

Current Legal Issues in the Recording Industry, 1987. Presented by the American Bar Association, Forum Committee on the Entertain- ment and Sports Industries, May 14-16, 1987, Washington, DC. Chicago, IL: American Bar Association. 1 v. (various pagings).

Legal and Business Aspects of the Music Industry, 1987. Presented by the American Bar Association, Forum Committee on the Entertain- ment and Sports Industries, Sept. 19, 1987, New Orleans, LA and Sept. 26, 1987, Boston, MA. Chicago, IL: American Bar Associa- tion. 1 v. (various pagings). INCLUDES: Management Agreements; Representation of Unsigned Talent; Music Publishing; and Current Developments in Recording Contracts: A Mock Negotiation of a Record Agreement.

Representation of the Entertainer and the Athlete. Sponsored by the American Bar Association Forum Committee on the Entertainment and Sports Industries in cooperation with Harvard Law School Committee on Sports and Entertainment Law. Chicago, IL: Ameri- can Bar Association, 1987. 1 v. (various pagings): forms. Course materials contain sample contracts and agreements made for negotiating motion picture financing, motion picture video, and music video. Text also provides discussion on merchandising and the right of publicity.

Legal and Business Aspects of the Music Industry, 1986. Presented by the American Bar Association, Forum Committee on the Entertain- ment and Sports Industries, Sept. 19, 1986, Minneapolis, Minn, and Oct. 18, 1986, Portland, OR. Chicago, IL: American Bar Associa- tion. 1 v. (various pagings). INCLUDES: Representation of Unsigned Talent, by Edward P. Pier- son; Negotiation of Management and Agency Agreements in Music, by Rosemary Carroll and Robert E. Gordon; Corporate Sponsorship of Music, by Jay L. Cooper and Harvey T. McLain; Producer Agree- ments, by Rosemary Carroll, et al.; Enforcement of Personal Service Contracts, by Edward P. Pierson; Music Copyright Infringement, by Robert Jay Bernstein and Judith M. Saffer; and CurrentDevelopments in Recording Agreement Negotiations, by Rosemary Carroll, et al. HASTINGS COMM/ENT L.J. [Vol. 13:811

The Legal Representation Internationallyof Clients in the Entertainment and Sports Industries. Sponsored by the American Bar Association, Forum Committee on the Entertainment and Sports Industries, May 6-7, 1986, Gloucester Hotel, London, UK. Chicago, IL: Amer- ican Bar Association. 1 v. (various pagings). INCLUDES: Part III, Music in Film (sample agreements); Part IV, Merchandising, the Right of Publicity and Protection of Names.

Music Publishing and the Law, 1986. Presented by the American Bar Association, Forum Committee on the Entertainment and Sports Industries, Nov. 7-8, 1986, Nashville, TN. Chicago, IL: American Bar Association. 1 v. (various pagings). INCLUDES: Songwriter and Publisher Contracts; Considerations in Co-Publishing and Administration Agreements; Update on New Cases and Statutes Affecting the Music Publishing Industry; Mechan- ical Licensing and Income; Foreign Publishing; Print Publishing; Source Licensing; Music and Copyright Infringement Suits; and Mu- sic in Television and Motion Pictures.

Music Law Symposium, 1985: An Update of Legal Aspects of the Music Industry. Presented by the Music and Personal Appearances Divi- sion of the American Bar Association Forum Committee on the En- tertainment and Sports Industries, Irving, TX, Oct. 5, 1985. Chicago, IL: American Bar Association. lv. (various pagings). INCLUDES: Music Copyright Infringement; Representation of Un- signed Artist; Negotiation of Recording Agreement Between Record Company and the Artist; Use of Music in Motion Pictures and Televi- sion; Music Publishing and Performing Rights; and Management Agreement Forms.

Legal Aspects of the Music Industry. Presented by the Music and Per- sonal Appearances Division of the American Bar Association, Fo- rum Committee on the Entertainment and Sports Industries, Boston College Law School, Oct. 14, 1983, and Hastings College of the Law, San Francisco, CA, Nov. 12, 1983. Chicago, IL: American Bar Association, 1983. 279 pp. INCLUDES: Protection of Group Names; Role of the Manager and Agent in the Music Industry; An Overview of Contracts and Statutes; Current Developments in Recording Agreement Negotiations; Music and Video; Current Development and Trends Involving Record Com- panies, Music Publishers, etc.; and Current Developments in En- tertainment Litigation Affecting the Music Industry. 1991] Music BIBLIOGRAPHY

B. American Law Institute-American Bar Association Committee on Continuing Professional Education Entertainment,Arts, and Sports Law: ALI-ABA Course of Study Materi- als. Sponsored with the cooperation of the American Bar Associa- tion's Forum Committee on the Entertainment and Sports Industries, June 7-9, 1990, Los Angeles, CA. Philadelphia, PA: American Law Institute-American Bar Association Committee on Continuing Professional Education, 1990. 603 pp. INCLUDES: Artist Agreements, by Jay L. Cooper; Tax Planningfor Entertainers, by Bruce M. Stiglitz and Thomas N. Lawson; Trade- marks, by Martin Horn; Labor, Employment Discriminationand Hu- manitarian Relief Laws Affecting Sports, Arts, and Entertainment Industries, by Joseph Z. Fleming; US. Immigration Law Issues for Foreign Entertainers, by Frida Popik Glucoft; and Antitrust Law 1989/90 Update, by M. Randall Oppenheimer.

Entertainment,Arts, and Sports Law: ALI-ABA Course of Study Materi- als Sponsored with the cooperation of the American Bar Associa- tion's Forum Committee on the Entertainment and Sports Industries, May 25-27, 1989, Los Angeles, CA. Philadelphia, PA: American Law Institute-American Bar Association Committee on Continuing Professional Education, 1989. 483 pp. INCLUDES: Fundamentals of American Copyright, by Lionel S. Sobel; Trademark Material, by Martin R. Horn; Tax Planningfor Entertainers,Artists, and Athletes, by Thomas N. Lawson and Bruce M. Stiglitz; Relevant Labor, Employment Discrimination, and Hu- manitarian Relief Laws Affecting Sports, Arts, and Entertainment In- dustries, by Joseph Z. Fleming; and Artist Agreements, by Jay L. Cooper.

C. Miscellaneous Legal and Business Aspects of the Entertainment and Media Industries. Boston, MA: Massachusetts Continuing Legal Education, 1990. 820 pp. (looseleaf): forms. INCLUDES: Music Law, by Mark A. Fischer: Assessing the Strengths and Weaknesses of the Artist; Industry Overview, Popular Music; Managers and Agents; Partnerships and Incorporation; and Recording Contracts, Contemporary Issues.

Art and Entertainment Law. Sponsored by Resources and Counselling/ United Arts and Advanced Legal Education, Hamline University School of Law, July 26, 1989. St. Paul, MN: Advanced Legal Edu- cation, Hamline University School of Law, 1989. 180 pp.: forms. INCLUDES: Contractingwith Minors in the Arts and Entertainment Industry, by Daniel M. Satorius; Unions and Agencies, by Mark HASTINGS COMM/WENT L.J. [Vol. 13:811

Volpe; Copyright and Trademark Law, by John S. Sumners; Repre- senting the Musician, by Brad C. Eggen; Preparingfor and Negotiating a Record Deal, by Paul L. Landry; and Representing the Artist/Enter- tainer,by John Roth.

Entertainment Law for the General Practitioner. Co-sponsored by the Special Committee on Entertainment Law and the Committee on Continuing Legal Education of the New York State Bar Associa- tion, June 10, 1988, New York City. Albany, NY: The Association, 1988. 331 pp.: forms. INCLUDES: Personal Management, by Howard Siegel; Composition Agreement, by Michael F. Sukin; Co-Publishing Agreement, by Michael F. Sukin; and Exclusive Songwriter's Contract, by Michael F. Sukin.

Sports, Entertainment & Concert Promotion: Program Materials, 1988. Co-Sponsored by the Entertainment and Sports Law Section, State Bar of Georgia. Dec. 9, 1988. Athens, GA: Institute of Continuing Legal Education in Georgia. 1 v. (various pagings). INCLUDES: Legal and Business Aspects of Representing and Promot- ing a National Event, by Joel A. Cherry. Forms include: concert hall license agreement; concert performance agreements; concert budget; variety production and license agreement; merchandising agreement; food services agreement; sponsorship agreement; and inbound service agreement.

Legal and Business Aspects of the Entertainment and Media Industries. Boston, MA: Massachusetts Continuing Legal Education, 1987. 788 PP.

Representing the Entertainer:Lecture Outlines. Sponsored by the Florida Bar Continuing Legal Education Committee and the Entertainment, Arts and Sports Law Committee, May 8, 1987. Tallahassee, FL: The Florida Bar, 1987. 1 v. (various pagings): forms.

Entering the Entertainment Industry: The Legal Representation of New Artists in the Entertainment Business. Co-sponsored by the Special Committee on Entertainment Law and the Committee on Continu- ing Legal Education of the New York State Bar Association, June 20, 1986, New York City. New York, NY: New York State Bar Association, 1986. 223 pp.: 5 audio cassettes. INCLUDES: PersonalManagement, by Howard Siegel; Minor's Con- tracts, by Marc Jacobson (cassette); and Mock Negotiation of a Man- agement Agreement, by Howard Siegel and David Sonenberg (cassette). 1991] Music BIBLIOGRAPHY

Entertainmentand Sports Law: Lecture Outlines. Sponsored by the Flor- ida Bar Continuing Legal Education Committee and the Entertain- ment and Arts Law Committee, May 29, 1986, Miami, FL and May 30, 1986, Tampa, FL. Tallahassee, FL: The Florida Bar, 1986. 133 PP. INCLUDES: Management Agreements, by Alan H. Bomser; Record Company Contracts, by Julian H. Kreeger; Representing Foreign En- tertainersand Athletes Performingin the United States, by Jordan Bit- tel; and Tax Planning for Foreign Entertainers and Athletes Performing in the United States, by Gerald Damsky.

The Musician's Manual: A Legal and Business Guide. Edited and compiled by Mark Halloran. Jerome, AZ: Jerome Headlands Press, 1991. 447 p.: forms. This edition has been prepared for attendees of "The Music Business Seminar" sponsored by the California Lawyers for the Arts in association with the Beverly Hills Bar Association Committee for the Arts. Description is based on a photo copy of a version that is being designed, illustrated, indexed, and bound for publication by Jerome Headlands Press and will be distributed in the fall of 1991 by Prentice Hall. The original version of this book was produced by the Commit- tee for the Arts (CFTA), an ongoing project of the Barristers (Young Lawyers Division) of the Beverly Hills Bar Association. It includes articles on all aspects of the music business, all revised or newly written for this edition. Bibliography: pp. 443 - 447.

Sports and EntertainmentLaw. Materials prepared for Continuing Legal Education Seminar, Vancouver, B.C., Apr. 25, 1986. Vancouver, BC: Continuing Legal Education Society of British Columbia, 1986. 1 v. (various pagings). INCLUDES: The Recording Artist (What He Has to Sell and How He Sells It), by Douglas H. Clarke; Income Tax Considerations,by How- ard J. Kellough and Ian Scobell; and Immigration Aspects, by Dennis McCrea.

Copyright: Selected PracticalApproaches to Protection and Enforcement. Compiled and edited by Paul D. Supnik, Margaret Saal, and David Carson. Presented at the Intellectual Property and Unfair Competi- tion Section, Los Angeles County Bar Association, Seventh Annual Symposium, Mar. 17, 1984, Beverly Wilshire Hotel. Los Angeles, CA: Los Angeles County Bar Association, 1984. 410 pp. INCLUDES: Subject Matter, Registration, and Notice/Music, by Neville Johnson; and InternationalAspects of United States Copyright Law: The Music Business, by Owen J. Sloane and Robert Thorne. HASTINGS COMM/ENT L.J. [Vol. 13:811

Negotiating Contracts in the Entertainment Industry. New York, NY: Law Journal Seminars-Press, 1984-. Annual. Description based on Fifth Annual Negotiating Contracts in the En- tertainment Industry, 1988. INCLUDES: Agents/Managers by John F. Breglio, Gilbert Parker, and Alan Kannof; and Music, by Nicholas Gordon and David H. Johnson.

EntertainmentLitigation. Los Angeles, CA: University of Southern Cali- fornia Law Center, 1983. 1 v. INCLUDES: Preliminary Injunctions in the Context of Personal Services Contracts; and Artists and Personal Managers: The "Sacra- mento Sunset" Law.

D. Practising Law Institute Counseling Clients in the EntertainmentIndustry, 1991. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 311. New York, NY: Practising Law Institute, 1991. 1056 pp. Contents: Sound Recordings and Music Videos, by Bertis E. Downs, IV, Donald S. Passman, and L. Lee Phillips; Music Publishing and Songwriting, by Donald E. Beiderman and Howard Siegel; Personal Management, by Janna Glasser and Michael Guido; Business Man- agement, Concert Touring, and Agency, by Burton Goldstein and Martin E. Silfen; Concert Touring, by Burton Goldstein and Martin E. Silfen; Ethical Aspects of Entertainment Law Practice, by Leonard M. Marks; and Entertainment Practice Development, by Kendall A. Minter and Judy Tint.

Counseling Clients in the Entertainment Industry, 1990. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 291. New York, NY: Practising Law Institute, 1990. 912 pp. INCLUDES: Established Artist-Record Company Agreement; New Artist-Record Company Agreement; Exclusive Songwriter Deal Memo; Co-Publishing Agreement; Foreign Subpublishing Deal Memo; Personal Management; Musician's Personal Management Contracts; Business Management in the Entertainment Industry; Sample Engagement Letter for Business Management and a Royalty Audit; Audit Report-Sound Recordings; Touring Agreements; Ethi- cal Aspects of Entertainment Law Practice; Development of an En- tertainment Law Practice; Legal Retention Agreements; Waiver of Conflict Letter; Client Data Sheets; and Tasteful Advertising.

Current Developments in Copyright Law, 1990. Patents, Copyrights, Trademarks, and Literary Property Course Handbook Series, No. 296. New York, NY: Practising Law Institute, 1990. 520 pp. INCLUDES: CopyrightFundamentals, by I. Fred Koenigsberg; Copy- right Ownership in Relation to Certain Curiosities of Authorship, by Peter Jaszi; Copyright Office and Legislative Developments, by Doro- 1991] Music BIBLIOGRAPHY

thy Schrader; Current Developments in Music, by Joseph J. Beard; International Developments, by Marybeth Peters; Selected Back- ground Materialson Fair Use Defense, by Roger L. Zissu; and Consid- erationsfor Trial of Copyright Infringement Action Involving Fair Use Defense, by Roger L. Zissu.

Counseling Clients in the Entertainment Industry, 1989. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 268. New York, NY: Practising Law Institute, 1989. 704 pp. INCLUDES: Artist-Record Company Agreement; Exclusive Song- writer Loanout Agreement; Subpublishing Agreement; Personal Management; Sample Engagement Letters for Business Management and a Royalty Audit; Audit Report-Phonorecords; A Practitioner's Guide on How to Avoid or Pursue Suits; Touring Agreements; Devel- opment of an Entertainment Law Practice; Sample Legal Retention Letter; Sample Legal Retention Agreement; Sample No Conffict Let- ter; and Ethical Aspects of an Entertainment Law Practice.

Counseling Clients in the Entertainment Industry, 1988. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 247. New York, NY: Practising Law Institute, 1988. 970 pp. INCLUDES: Artist-Record Company Agreement; Exclusive Song- writer Loanout Agreement; Subpublishing Agreement; Personal Management; Audit Reports-Phonorecords; A Practitioner's Guide on How to Avoid or Pursue Suits; and Touring Agreements.

Current Developments in Copyright Law, 1988. Patents, Copyrights, Trademarks, and Literary Property Course Handbook Series, No. 249. New York, NY: Practising Law Institute, 1988. 440 pp. INCLUDES: Subject Matter of Copyright and Jurisdiction, by Peter L. Felcher; Works Made for Hire: Crisis in the Courts, by William F. Patry; United States Adherence to the Berne Convention, by Irwin Karp; Current Developments in Copyright Law: A CongressionalPer- spective, by Michael J. Remington; The Licensing of Entertainment Properties, by Peter F. Nolan; and Current Developments in the De- fense of Fair Use 1988, by Robert J. Bernstein.

Counseling Clients in the Entertainment Industry, 1987 Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 237. New York, NY: Practising Law Institute, 1987. 888 pp. INCLUDES: Artist-Record Company Agreement; Exclusive Song- writer Agreement; Co-Publishing Agreement; and Standard Print Agreement.

Counseling Clients in the Entertainment Industry, 1986. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 221. New York, NY: Practising Law Institute, 1986. 800 pp. HASTINGS COMM/ENT L.J. [Vol. 13:811

INCLUDES: Legal Representation Agreements; Personal Manage- ment Agreements; Artist-Record Company Agreement; Songwriters and Music Publishers; Exclusive Songwriter's Agreements; Participa- tion Agreement; Negotiating a Sub-Publishing Agreement; and Li- censing, Merchandising, and Endorsement Agreements.

Current Developments in Copyright Law, 1986. Patents, Copyrights, Trademarks, and Literary Property Course Handbook Series, No. 216. New York, NY: Practising Law Institute, 1986. 944 pp. INCLUDES: Subject Matter of Copyright, and Jurisdiction, by Robert J. Bernstein; Formalities and Duration, by Alan L. Shulman; Works for Hire, and Other Ownership Questions, by Alvin Deutsch; Compul- sory Licenses, and the Copyright Royalty Tribunal, by Robert Cassler; U.S. Adherence to Berne (text of the Berne Convention); Copyright in Congress, Legislative Developments, by Benjamin L. Zelenko; Fair Use after Sony, and Harper & Row, by William F. Patry; and Rights of Publicity, by Stanley Rothenberg.

Counseling Clients in the Entertainment Industry, 1985. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 197. New York, NY: Practising Law Institute, 1985. 408 pp. INCLUDES: Personal Management Agreement; Video Songs Provi- sions; Agreement for Exclusive Services of Songwriter-No Advance; Agreement for Single Song-No Advance; and Foreign Sub-Publish- ing Agreement with Advance.

Current Developments in Copyright Law, 1985. Patents, Copyrights, Trademarks, and Literary Property Course Handbook Series, No. 193. New York, NY: Practising Law Institute, 1985. 824 pp. INCLUDES: Current Developments in Copyright Law: The Subject Matter Issues, by Howard B. Abrams; Copyright, Misappropriation, and Preemption: Constitution and Statutory Limits of State Law Pro- tection, by Howard B. Abrams; CopyrightFormalities: Notice, Deposit, and Registration, by Marybeth Peters; Copyright: Ownership, Trans- fer, and Recordation, by Richard Dannay; Duration, Renewal, and Termination (including excerpts from Supreme Court Briefs in Music, Inc. v. Snyder), by I. Fred Koenigsberg; Litigation: Infringement and Remedies, by Eugene L. Girden; The Fair Use Privilege, by William F. Patry; Legislative, International,and Administrative Developments in Copyright Law (including Record Rental Amendment Act of 1984), by David E. Leibowitz.

Counseling Clients in the Entertainment Industry, 1984. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, Nos. 174-75. New York, NY: Practising Law Institute, 1984. 2 v. INCLUDES: Personal Management and Legal Representation; Sound Recordings; and Music Publishing. 1991] Music BIBLIOGRAPHY

Counseling Clients in the Entertainment Industry, 1983. Patents, Copy- rights, Trademarks, and Literary Property Course Handbook Series, No. 156. New York, NY: Practising Law Institute, 1983. 504 pp. INCLUDES: 1982 Amendment to the California Talents Agents Act; Personal Management Agreement Between "Artist" and Miles, Lou- rie, Inc.; Negotiating a Record Agreement Between an Artist and Record Company; Merchandising Rights Provision to Basic Artists Agreement; License for Use of Master Recording in Motion Picture; Individual Record Producer/Record Company Agreement; The Loan-Out Corporation in Tax Planning for Entertainers; The Tax Eq- uity and Fiscal Responsibility Act of 1982 and Tax Shelters; Talent Agreement for Radio and TV Commercials; and Print and Personal Appearances.

E. UCLA Entertainment Symposium The Business and Legal Aspects of Representing Talent in the Entertain- ment Industry. Edited by Michael H. Lauer and Peter J. Dekom. Seventh Annual UCLA Entertainment Symposium. Los Angeles, CA: University of California, 1982. 564 pp. INCLUDES: How the Music Industry Slump Affects Record Contract Negotiations, by L. Lee Phillips and Jody E. Graham; and Business and Legal Aspects of Representing Talent in the Music Publishing Business, by Allen D. Lenard and Evan R. Medow.

F. University of Southern California Law Center Entertainment Law Institute Music in Film, Film in Music. Thirty-Sixth Annual Entertainment Law Institute, The Vic Netterville Memorial Lectures, Apr. 28, 1990; Co-sponsored by the University of Southern California Law Center and the Beverly Hills Bar Association. Los Angeles, CA: University of Southern California Law Center and Beverly Hills Bar Associa- tion, 1990. 338 pp. INCLUDES: Motion Picture Music, by Donald S. Passman; Motion PictureMusic Video, by Merritt B. Kleber; The Artist, by Kenneth L. Kraus; Putting Music into Films, by Burt Berman; The New New New Monkees Movie Soundtrack, by Robert L. Young; PublisherChecklist, by Marsha L. Gleeman; and Why Would an Artist Want to Participate in Soundtrack?, by John T. Frankenheimer.

Hiringand Firingin the EntertainmentIndustry: Syllabus. Thirty-fourth Annual Program, The Vic Netterville Memorial Lectures, Apr. 23, 1988; Co-sponsored by the Law Center, University of Southern Cal- ifornia and the Beverly Hills Bar Association. Los Angeles, CA: En- tertainment Law Institute, The Law Center, University of Southern California, 1988. lv. (looseleaf). HASTINGS COMM/ENT L.J. [Vol. 13:811 INCLUDES: Basic Considerationsin the Engagement of Individuals, by Richard Zimbert; Union and Guild Aspects of the Employment Re- lationship, by Carol L. Akiyama and Glenn J. Gumpel; Engagement of Lawyers, Agents and Personal Managers, by Jay L. Cooper and John H. Lavely, Jr.; Negotiation of Executive Contracts, by Kenneth Ziffren; Damages and Remedies Regarding Termination of Employ- ment, by Bertram Fields; and Unlawful Termination and Related Ju- dicial and Legislative Aspects, by Paul Grossman.

Term Arrangements in the Entertainment Industry: Syllabus. Thirty- Third Annual Program, The Vic Netterville Memorial Lectures, Apr. 25, 1987; Co-sponsored by the Law Center, University of Southern California, and the Beverly Hills Bar Association. Los An- geles, CA: Entertainment Law Institute, The Law Center, Univer- sity of Southern California, 1987. lv. (looseleaf). INCLUDES: Music Term Arrangements, by Peter T. Paterno.

The Music and Recording Industry: Practicaland Business Aspects Ad- vanced Professional Program, Spring Semester, 1984. Instructor: Donald S. Passman. Los Angeles, CA: Entertainment Law Institute, University of Southern California Law Center, 1984. lv. (looseleaf): forms. INCLUDES: Record Agreements; Songwriter/Publisher Agree- ments; Administration, Co-Publishing, and Sub-Publishing Agree- ments; and Publisher's Licensing Agreements.

Syllabus on Current Developments Concerning the Representation of Per- forming Talent: Motion Pictures, Television, Stage, Commercials and Music. Compiled and edited by Randolph Blotky, Helene Hahn, and David Wyle. Thirtieth Annual Program on Legal Aspects of the En- tertainment Industry, Vic Netterville Memorial Lectures, 1984. Co- sponsored by the Beverly Hills Bar Association and the University of Southern California Law Center. Los Angeles, CA: Entertain- ment Law Institute, The Law Center, University of Southern Cali- fornia and Beverly Hills Bar Association, 1984. 325 leaves: forms. INCLUDES: Representing Musical Performers, by David A. Braun.

Syllabus on Pay Television-A Primaryand Secondary Market: Dynamics of Productions and DistributionArrangements. Compiled and edited by Harold Brown, Shelley E. Kates, and Jeffrey S. Robin. Twenty- Ninth Annual Program on Legal Aspects of the Entertainment In- dustry. Los Angeles, CA: Entertainment Law Institute, The Law Center, University of Southern California and Beverly Hills Bar As- sociation, 1983. 303 leaves. 1991] Music BIBLIOGRAPHY 911

INCLUDES: Music Considerations; Rights in Music for Pay Televi- sion, by Alan Latman, Robert J. Bernstein, and Jane C. Ginsberg. HASTINGS COMM/ENT L.J. [Vol. 13:811

VI U.S. Government Publications A. Copyright and Related Rights United States. Library of Congress. Copyright Office. Circulars. Wash- ington, DC: U.S. Govt. Print. Off. This is a numbered series of publications, with individual circulars being updated whenever there is a change in the law. Each describes a specific type of work covered by the Copyright Act and provides in- structions for registering that work with the Copyright Office. Circu- lars current as of February 1991 are as follows: Copyright for Sound Recording& Circular 56, Oct. 1990. 8 pp. Copyright Registration for Musical Compositions Circular 50, Jan. 1991. 7 pp. Copyright Registration of Musical Compositions and Sound Record- ings. Circular 56a, July 1989. 2 pp. Compulsory License for Making and Distributing Phonorecord& Circu- lar 73, Apr. 1984. 2 pp. Repeal of Notice of Use Requirement. Circular 51, May 1979. 1 pp. The United States Joins the Berne Union. Circular 93a, Feb. 1989. 8 PP.

United States. Congress. House. Amending Title 17 of the United States Code with Respect to the Fees of the Copyright Office, and for Other Purposes: Conference Report (to accompany H.R. 4441). House Re- port No. 97-930, 97th Cong., 2d Sess., Oct. 2, 1982. Washington, DC: U.S. Govt. Print. Off., 1982. 4 pp. The purpose of the amendment is to provide an exemption for non- profit veterans and fraternal organizations from the requirement of paying certain performance royalties for musical works which are used for charitable fundraising. It is the intention of the conferees to provide an exemption to the copyright act to college and university fraternities and sororities only for those specific events that are held to raise funds for a specific charitable purpose. Events held by these groups that are merely social in nature are not intended to be covered. Passed (P.L. 97-366).

United States. Congress. Senate. Committee on the Judiciary. Definition of Work Made for Hire in the Copyright Act of 1976. Hearings, 97th Cong., 2d Sess., Oct. 1, 1982. Washington, DC: U.S. Govt. Print. Off., 1983. 159 pp. Consideration of S. 2044 to exempt from Copyright Act of 1976 the "work-made-for-hire" provision, which covers audiovisual and printed material commissioned for use in motion picture, educational text, or literary collection. Witnesses include Elmer Bernstein, Screen Composers Association, and Richard Colby, senior distribution and 1991] Music BIBLIOGRAPHY

marketing counsel, Twentieth-Century Fox Film Corp. (pp. 72-105). Includes statements regarding motion picture industry contracting practices.

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Copyright and TechnologicalChange. Hearing, 98th Cong., 1st Sess., July 20 and 21, 1983. Washington, DC: U.S. Govt. Print. Off., 1985. 555 pp. Purpose of the hearing is to assess the implications for copyright law of technological developments in communication, entertainment media, and computers. Numerous articles, written statements, and other insertions are included, among them, Materialsfrom Congressional Copyright and Technology Symposium, Fort Lauderdale, FL, Febru- ary 4-6, 1984 (pp. 162-300).

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Copyright Office/Copyright Royalty Tribunal. Hearings, 98th Cong., 1st Sess., Mar. 3, 1983. Washington, DC: U.S. Govt. Print. Off., 1983. 112 pp. Includes an examination of major copyright issues and Copyright Act provisions focusing on cable television royalty-fee payments for re- transmission of copyrighted materials, home off-air videotaping, and satellite transmission of television programming.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Oversight on Inter- national Copyrights. Senate Hearing No. 98-1183, 98th Cong., 2d Sess., Sept. 25, 1984. Washington, DC: U.S. Govt. Print. Off., 1985. 187 pp. Hearing on how to protect the nation's creativity by protecting the value of intellectual property. Bulk of this document consists of a thorough written report submitted to the Subcommittee by David Ladd, Register of Copyrights (pp. 8-183), "To Secure Intellectual Property Rights in World Commerce." The report includes an agenda for the Congress to promote progress through trade agreements, es- tablishment of bilateral copyright relations with the States of the Pa- cific Basin and the Persian Gulf, possible U.S. adherence to the Berne Convention, modernization of both worldwide copyright conventions, and support for international and domestic copyright training programs.

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Copyright Royalty Tribunal and US. Copyright Office. Hearing, HASTINGS COMM/ENT L.J. (Vol. 13:811

99th Cong., 1st Sess., May 1, 1985. Washington, DC: U.S. Govt. Print. Off., 1985. 323 pp. Oversight hearing on the Copyright Royalty Tribunal and the Copy- right Office. The focus is primarily on the CRT which has statutory authority to set copyright royalty rates for compulsory licenses in the areas of cable television, phonograph records, jukeboxes, and noncommercial broadcasting, and to distribute cable and jukebox royalties deposited with the Copyright Office.

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. CRT Reform and Compulsory Licenses. Hearings, 99th Cong., 1st Sess., June 19, July 11, Sept. 18, and Oct. 3, 1985. Washington, DC: U.S. Govt. Print. Off., 1986. 569 pp. Hearings on H.R. 2752, the Copyright Royalty Tribunal Sunset Act of 1985, to terminate the CRT and transfer its functions to the Copy- right Office, and on H.R. 2784, the Copyright Dispute Resolution and Royalty Court Act of 1985, to establish a Copyright Royalty Court and for other purposes.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights and Trademarks. Civil and Criminal Enforcement of the Copyright Laws. Senate Hearing No. 99-123, 99th Cong., 1st Sess., Apr. 17, 1985. Washington, DC: U.S. Govt. Print. Off., 1985. 95 pp. Hearing on the authority and the responsibility of the federal government to protect intellectual property. Hearing provides the subcommittee an opportunity to review recent legislative acts (Audio First Sale Act, Semiconductor Chip Protection Act, and amendments to the Generalized System of Preferences) and assess how well they are furthering the constitutional mandate of promoting the progress of science and the useful arts. Includes: statement by Victoria Toensing, Deputy Assistant Attorney General, Criminal Division, Department of Justice, regarding the Department's role in enforcing the criminal provisions of the 1976 Copyright Act and its 1982 amendments; statement by Donald C. Curran, Acting Register of Copyrights, regarding the effectiveness of civil and criminal remedies for infringement en- acted in the 1982 amendments; statement by Michael K. Kirk, Assis- tant Commissioner for External Affairs, U.S. Patent and Trademark Office, Department of Commerce, regarding efforts to protect Ameri- can works of authorship worldwide; statement by David Ladd, former Register of Copyrights; and statement by Barbara Ringer, former Register of Copyrights with objections to the 1985 Supreme Court decision in Mills Music v. Snyder.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Copyright Holder Protection Act. Senate Hearing No. 99-774, 99th Cong., 1st Sess., 1991] Music BIBLIOGRAPHY

Nov. 20, 1985. Washington, DC: U.S. Govt. Print. Off., 1986. 158 PP. Hearing on S. 1384, a bill to amend the Copyright Act of 1976 to clarify the operation of the derivative works exception (text p. 2-3). This legislation is in response to the 1985 Supreme Court decision in Mills Music v. Snyder which permits publishers to continue receiving royalties for derivative works after termination of a contract by the author or author's heirs. Witnesses include Barbara Ringer, former Register of Copyrights who expressed her opinion that the Mills decision misconstrued the "derivative works exception" to the termination provisions of the 1976 Copyright Act. Also included are written statements of both Ralph Oman and Ms. Ringer which give background information on legislative history of the 1976 Act and the Mills litigation. Also supporting the bill is Irwin Karp, counsel, the Authors League of America, Inc., and George David Weiss, president, Songwriters Guild of America. Testifying on behalf of music publishers is Dean Kay, executive vice president and general manager, Welk Music Group.

United States. Congress. House. Committee of the Whole House on the State of the Union. Copyright Fees and Technical Amendments Act of 1989. Report No. 101-279, 101st Cong., 1st Sess., Oct. 13, 1989. Washington, DC: U.S. Govt. Print. Off., 1989. 16 pp. Report to accompany H.R. 1622, a bill to change the fee schedule of the Copyright Office and to grant the Register of Copyrights the authority to adjust the fee schedule by regulation at five-year intervals, to reflect increases in the Consumer Price Index. Passed (P.L. 101- 318).

United States. Congress. House. Committee on the Judiciary. Copyright Office and Copyright Royalty Tribunal Oversight. Hearing, 101st Cong., 1st Sess., Mar. 16, 1989. Washington, DC: U.S. Govt. Print. Off., 1989. 106 pp. Oversight hearing to review activities and programs of the Copyright Office and the Copyright Royalty Tribunal. Includes text of H.R. 1621, the Copyright Royalty Tribunal Reform Act of 1989, and H.R. 1622, the Copyright Fees and Technical Amendments Act of 1989 (pp. 65-72). Written statement of Ralph Oman, Register of Copy- rights (pp. 8-22), gives an overview of the administration of the copyright law by the Copyright Office, including the implementation of the Berne Convention Implementation Act of 1988. The report covers eleven areas where legislative activity might occur, i.e. issues which were not resolved in the previous Congress, including DAT/ Hometaping, performers' royalties, and source licensing. There is also a statement by Edward W. Ray, chairman, Copyright Royalty Tribu- nal (pp. 42-54). H.R. 1622 passed (101-318).

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Copyright Fees and HASTINGS COMM/ENT L.J. [Vol. 13:811

Technical Amendments Act, and Copyright Royalty TribunalReform Act. Senate Hearing No. 101-608, 101st Cong., 1st Sess., July 12, 1989. Washington, DC: U.S. Govt. Print. Off., 1990. 68 pp. Hearing on S. 1271, a bill to change the fee schedule of the Copyright Office, and S. 1272, a bill to reduce the number of commissioners on the Copyright Royalty Tribunal and to provide for lapsed terms of such commissioners. Written statement of Edward W. Ray, chairman and commissioner, Copyright Royalty Tribunal, includes CRT budget for FY1989 and FY1990, table of jukebox royalties from 1978 to 1988, and table of appeals cases since 1985. Witnesses also include Ralph Oman, Register of Copyrights, and Irwin Karp, counsel for office organizations involved in the Copyright Revision Act. Compan- ion bill to S. 1271, H.R. 1622, passed (P.L. 101-318).

United States. Congress. Senate. Committee on the Judiciary. The Copy- right Fees and Technical Amendments Act of 1989. Report No. 101- 267, 101st Cong., 2d Sess., Apr. 19, 1990. Washington, DC: U.S. Govt. Print. Off., 1990. 13 pp. Report to recommend passage of identical bills S. 1271 and H.R. 1622. By amendment, the language of S. 1271 was replaced by the text of H.R. 1622. The bills double the fee schedule for copyright re- gistrations under the copyright laws and grant to the Register of Copyrights the authority to increase fees every five years, beginning in 1995. H.R. 1622 passed (P.L. 101-318).

B. Digital Audio Recording United States. Congress. House. Committee on Energy and Commerce. Trade and International Economic Policy Reform Act of 1987. House Report No. 100-40, Part 2, 100th Cong., 1st Sess., Apr. 6, 1987. Washington, DC: U.S. Govt. Print. Off., 1987. 118 pp. Report, to accompany H.R. 3, includes commentary on a temporary provision, lasting one year from date of enactment, requiring the inclusion of copy-code scanners in digital audio tape recording devices (pp. 58-59). This is a drastically scaled down version of the Adminis- tration proposal on this issue. President Reagan proposed a permanent requirement that DAT recorders have copy protection. For text of the President's proposal see "The Trade, Employment, and Pro- ductivity Act of 1987; Message from the President of the United States Transmitting a Draft of Proposed Legislation," February 19, 1987 (100th Cong., 1st Sess., House Document 100-33), pp. 104-106, Subtitle C-Regulation of Commerce in Digital Audio Recording De- vices Act of 1987, Title III-Omnibus Intellectual Property Rights Improvement Act of 1987. H.R. 3 passed (P.L. 100-418).

United States. Congress. House. Committee on Energy and Commerce. Subcommittee on Commerce, Consumer Protection, and Competi- tiveness. Digital Audio Tape Recorders. Hearing, 100th Cong., 1st 1991] Music BIBLIOGRAPHY

Sess., May 14, 1987. Washington, DC: U.S. Govt. Print. Off., 1987. 218 pp. Hearing on H.R. 1384, a bill to require the inclusion of copycode scanners in digital audio recording devices (text of the bill: pp. 3 -8). H.R. 1384, as well as H.R. 1155, the Administration's proposed DAT legislation, would make it unlawful to engage in the manufacture, distribution, or sale in the U.S. of digital audio recording machines that do not incorporate copycode scanner devices to prevent unauthorized reproduction of phonorecords. Witnesses include: Emylou Harris, Warner Brothers; Jason Berman, president, Recording Industry As- sociation of America; David Stebbings, director of Recording Re- search at the CBS Records Technology Center (to explain and demonstrate the CBS copy code system); Victor W. Fuentealba, president, American Federation of Musicians; Charles D. Ferris, attorney, representing Home Recording Rights Coalition; Leonard Feldman, Leonard Feldman Electronic Laboratories; and Alec Bernstein, Aes- thetic Research Co. Witnesses opposing the bill expressed concerns that DAT technology will not be available in the U.S. and that if it is, methods of restricting copying would cause audio distortion on cassettes; they also refuted testimony that DAT will have an adverse effect on the recording industry.

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Intellectual Property and Trade-1987. Hearings, 100th Cong., 1st Sess., Mar. 18 and 26, 1987. Washington, DC: U.S. Govt. Print. Off., 1987. 191 pp. Oversight hearings to examine proposals designed to protect U.S. intellectual property in international trade. Text of H.R. 1931: pp.128- 141. Text of accompanying House Report 100-60: pp. 142-160. In- cludes some testimony and written statements relating to digital audio tape recorders. The Hon. Donald W. Peterson, Deputy Commissioner of Patents and Trademarks, U.S. Department of Commerce, testifies on behalf of H.R. 1155, the related Administration bill. The Adminis- tration is in favor of prohibiting the import of digital audio tape recorders not equipped with a copycode scanning device to prevent unauthorized reproduction of copyrighted materials. Appendix contains Ralph Oman's report, "Copyright Piracy in the Western Pacific Rim: Update '86," presented before The International An- ticounterfeiting Coalition, May 29, 1986 (pp. 164-176).

United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Subcommittee on Communications. Digital Audio Recorder Act of 1987. Senate Hearing No. 100-178, 100 Cong., 1st Sess., May 15, 1987. Washington, DC: U.S. Govt. Print. Off., 1987. 120 pp. Hearing on S.506 to require the inclusion of copy-code scanners in digital audio recording devices. The proposed "Digital Audio Re- corder Act of 1987" is intended to protect the intellectual property HASTINGS COMM/ENT L.J. [Vol. 13:811

rights of prerecorded music from tape recordings, by prohibiting for three years the sale, resale, lease, or distribution of digital audio recording devices which do not contain a copy code scanner chip. Text of bill: pp. 8-13. Witnesses include Jason S. Berman, president, the Recording Industry Association of America; Charles D. Ferris, counsel, representing Home Recording Rights Coalition; Mary Travers, songwriter and artist representing the recording group Peter, Paul and Mary; Alec Bernstein, Aesthetic Research Company; David Steb- bings, Director of Recording Research, CBS Record Technology; Le- onard Feldman, Electronic Laboratories; and Fred W. Weingarten, program manager, Communication and Information Technologies, Office of Technology Assessment.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Copyright Issues Presented by Digital Audio Tape. Senate Hearing No. 100-216, 100th Cong., 1st Sess., Apr. 2, 1987. Washington, DC: U.S. Govt. Print. Off., 1987. 202 pp. Joint hearing with the House Judiciary Committee, Subcommittee on Courts, Civil Liberties, and the Administration of Justice. Testimony on S. 506, the Digital Audio Recorder Act of 1987, and similar bill H.R. 1384. Witnesses include Jason S. Berman, president, Recording Industry Association of America; David W. Stebbings, director, Re- cording Research, CBS Records Technology Center; Leonard Feld- man, owner, L. Feldman Electronic Laboratories; Charles D. Ferris, attorney, representing Home Recording Rights Coalition; Ralph Oman, Register of Copyrights; and Frederick W. Weingarten, Office of Assessment.

United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Subcommittee on Communications. Digital Audio Tape Recorder Act of 1990. Senate Hearing No. 101-890, 101st Cong., 2d Sess., June 13, 1990. Washington, DC: U.S. Govt. Print. Off., 1990. 281 pp. Hearing on S. 2358, the Digital Audio Tape Recorder Act, or DAT bill (text: pp. 7-24). This bill is similar to S. 506 introduced in 1987 but not passed. The 1990 measure prohibits the manufacture or distribution of digital audio tape recorders in the United States unless equipped with serial copy management systems circuitry chips. The SCMS technology will allow first generation copies of prerecorded materials but will not allow succeeding generation copies. Witnesses include: Ralph Oman, Register of Copyrights; Jason Berman, president, Recording Industry Association of America; Thomas P. Friel, chairman, Home Recording Rights Coalition; Kevin Kondo, general manager, Honolulu Audio Video; Leonard Feldman, Leonard Feld- man Electronic Labs; Philip Greenspun, president, Isosonics Corpo- ration; Edward Murphy, president, National Music Publishers Association; George David Weiss, president, Songwriters Guild of America, on behalf of the Copyright Coalition; Michael Smith, presi- 1991] Music BIBLIOGRAPHY

dent, SJS Advanced Strategies; Wayland Holyfield, AMI Music Pub- lishing, Inc.; and George Wilson, Director of Systems Integration, Stanley Associates.

C. Economic Conditions and Labor

United States. Congress. House. Committee on Education and Labor. Subcommittee on Labor-Management Relations. Hearing on Collec- tive Bargaining at Private Educational Institutions and in the Per- forming Arts. Hearing, 98th Cong., 2d Sess., Sept. 18, 1984. Washington, DC: U.S. Govt. Print. Off., 1985. 174 pp. Includes hearing on H.R. 5107, the Performing Arts Labor Relations Amendments, to extend to performers' unions exemptions similar to those provided to the construction and garment industries in Sections 8(e) and 8(f) of the NLRA. Testifying in favor of the bill are: Victor Fuentealba, president, American Federation of Musicians; Jack Golodner, director, Department for Professional Employees, AFL- CIO; and Raymond M. Hair, Jr., president, Local 72, American Fed- eration of Musicians. Testifying in opposition to the bill are Jerry Da- vis, New England administrator, National Association of Orchestra Leaders; Charles Peterson, treasurer, National Association of Orches- tra Leaders; and William Haeberlin, past president, International Theatrical Agencies Association. Appendix contains numerous exhibits: letters; statements; and examples of entertainment contracts.

United States. Congress. Senate. Committee on Labor and Human Re- sources. Subcommittee on Labor. Oversight on the Taft-Hartley Act, the Railway Labor Act, and the NationalLabor Relations Act. Senate Hearing No. 98-1119, 98th Cong., 2d Sess., Sept. 13, and 18, 1984. Washington, DC: U.S. Govt. Print. Off., 1984. 589 pp. Oversight hearings also include consideration of S. 281, the Perform- ing Arts Labor Relations Act, to allow musicians to engage in collective bargaining through their union representatives and clarifying that purchasers of music services are the employers of the musicians. Wit- nesses include Victor W. Fuentealba, president, American Federation of Musicians; Ned H. Guthrie, president emeritus, Local No. 136; and Cosimo Abato, American Federation of Musicians.

United States. Congress. Senate. Committee on Labor and Human Re- sources. Subcommittee on Labor. Performing Arts Labor Relations Amendments. Senate Hearing No. 100-528, 100th Cong., 1st Sess., Dec. 10, 1987. Washington, DC: U.S. Govt. Print. Off., 1988. 168 pp. Hearing to consider S. 1346, the Performing Arts Labor Relations Amendments of 1987, to amend the National Labor Relations Act to clearly define the employer and employee relationship between musicians and purchasers of musical services and to afford musicians the right to engage in collective bargaining. The bill extends the current HASTINGS COMM/ENT L.J. [Vol. 13:811

exemption for the construction industry under section 8(f) to permit employers and unions in the performing arts industry to enter into pre-hire agreements. The bill also extends the exemption to section 8(e) to the performing arts industry, allowing employers and unions in the performing arts industry to enter into agreements under which employers would hire union subcontractors. The bill also allows a union in the performing arts industry to picket persons "in the relation of leader, contractor, recording artist, purchaser of entertainment or music, promoter, producer, or person similarly engaged or involved in an integrated production of performance" in order to en- force agreed upon working conditions. Witnesses include J. Martin Emerson, international president, American Federation of Musicians and Jay Collins, president, Nashville Association of Musicians.

D. Home Recording

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Home Recording of Copyrighted Works, Part 1. Hearings, 97th Cong., 2d Sess., Apr. 12, 13, 14, June 24, and Aug. 11, 1982. Wash- ington, DC: U.S. Govt. Print. Off., 1983. 699 pp. Covers testimony in support of H.R. 5705, the Home Recording Act of 1982, to propose a royalty-fee system for home audio taping of copyrighted materials and to prohibit record rentals without copyright owner's consent. Insertions include: Melville B. Nimmer, Legal Status of Home Audio Recording of Copyrighted Works, legal memo prepared for NMPA and RIA, 1982 (pp. 481-512); and J.A. Baum- garten, Private Audio Recording of Copyrighted Music, legal memo prepared for NMPA, 1982 (pp. 529-537).

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Home Recording of Copyrighted Works, Part 2. Hearings, 97th Cong., 2d Sess., Aug. 11, Sept. 22, 23, 1982. Washington, DC: U.S. Govt. Print. Off., 1983. pp. 701-1359. Testimony focuses on H.R. 5705, the Home Recording Act of 1982. Supplementary materials include assessment of the impact of home audio recording on the recording industry (pp. 784-835) and additional testimony reflecting record industry claims that home audio recording has a harmful impact on the industry (pp. 763 -783).

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Video and Audio Home Taping. Senate Hearing No. 98-597, 98th Cong., 1st Sess., Oct. 25, 1983. Washington, DC: U.S. Govt. Print. Off., 1984. 525 PP.. Hearing on S. 31 (text: pp. 3 -47), the Home Recording Act of 1983, and S. 175 (text: pp. 48- 49) to exempt private noncommercial record- 1991] Music BIBLIOGRAPHY

ing of copyrighted works on video recorders from copyright infringement. S. 31 exempts video and audio recording for private use from copyright infringement liability, establishes procedures for compulsory licensing of and royalty surcharges on importers and manufacturers of recording devices and blank tapes, and provides for distribution of royalties to copyright owners.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Home Audio Re- cording Act. Senate Hearing No. 99-1019, 99th Cong., 1st and 2d Sess., Oct. 30, 1985 and Mar. 25, Aug. 4, 1986. Washington, DC: U.S. Govt. Print. Off., 1987. 957 pp. Hearings on S. 1739 (text: pp. 3 -18), a bill to legalize the home taping of copyrighted music and other audio material; impose royalty fees on manufacturers and importers of audio recording devices and blank tapes; and set up procedures for distribution of the fees by the Copy- right Royalty Tribunal. Prepared statement by Ralph Oman, Register of Copyrights (pp. 29-84) contains bibliographical and legislative references and a comparison of similar legislation in other countries. Witnesses Stanley M. Gortikov, president, Recording Industry Asso- ciation, and George D. Weiss, president, Songwriters Guild, testify in support of S. 1739. Witnesses representing Audio Recording Rights Coalition present arguments against S. 1739. Many more witnesses present testimony and comprehensive written reports on the economic impact of the proposal on the recording industry, on the technology of the CBS copy-coding system, and on the mechanics of a royalty distribution scheme.

United States. Congress. Office of Technology Assessment. Copyright & Home Copying: Technology Challenges the Law. OTA-CIT-422, Oct. 1989. Washington, DC: U.S. Govt. Print. Off., 1989. 293 pp. This report examines home recording technologies, the legal status of home copying, and the possible economic effects that home audiotap- ing may have on the recording industry contrasted to the effects that restricting home taping might have on consumers. Included in the report are the results of a national survey of home taping and copying behavior conducted for OTA in the autumn of 1988. Includes bibliographical references.

E. Jukeboxes United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Coin-Operated PhonorecordPlayer Copyright Act of 1983. Senate Hearing No. 98- 1042, 98th Cong., 2d Sess., June 20, 1984. Washington, DC: U.S. Govt. Print. Off., 1985. 331 pp. Hearing on S. 1734 to amend Title 17 of the U.S. Code with respect to public performances of nondramatic musical works by means of coin- operated phonorecord players, specifically to shift the royalty pay- HASTINGS Comm/ENT L.J. (Vol. 13:811

ment from the owner of the jukebox to the manufacturer or the im- porter, and make the royalty a one-time, nonadjustable $50 payment in place of the current annual fee. Witnesses include Wesley S. Law- son, representing Amusement and Music Operators Association (AMOA); Don Van Brackel, former president of AMOA and of Ohio Music and Amusement Association; and Jerry Gordon, president, Rowe International, Inc., all testifying concerning the adverse economic effect the current CRT royalty fee has had on the jukebox industry. Testifying in opposition to S. 1734 are Hal David, president of ASCAP; Edward M. Cramer, president of BMI; and Vincent Candilora, executive vice president of SESAC. Exhibits include AMOA's brief to the U.S. Supreme Court, October term, 1981, in AMOA v. CRT; and A Report on the Economic State of the Jukebox Industry, prepared for AMOA by James F. Gaertner, September 1983.

United States. Library of Congress. Copyright Office. Report of the Regis- ter of Copyrights on the Jukebox Compulsory License. Washington, DC: U.S. Copyright Off., 1988. 49 pp. Background information in the report covers the jukebox exemption under the 1909 Copyright Act, the 1976 Copyright Act, the administrative structure of the jukebox license, early compliance problems with the compulsory licensing system, and the 1985 agreement between the performing rights societies and the Amusement and Music Operators Association (AMOA). The Register of Copyrights also addresses the issue of the jukebox compulsory license and the Berne Convention, and presents an overview of a public hearing held by the Copyright Office. There is an analysis of administrative issues and conclusions by the Copyright Office on compliance and enforcement issues. Appendix 4 contains the May 13, 1985, press release regarding the voluntary agreement between AMOA and the performing rights societies. Appendix 5 contains Copyright Office jukebox licensing sta- tistics as of September 1, 1988.

F. Record Lyrics

United States. Library of Congress. Congressional Research Service. Rock Music Lyrics. Washington, DC: Congressional Research Ser- vice, 1985. 1 v. (various pagings). Packet of background information compiled by the Congressional Re- search Service Reference Division. Includes reproductions of news articles and editorial comments from publications around the country. Includes a bibliography on record labeling.

United States. Congress. Senate. Committee on Commerce, Science, and Transportation. Record Labeling. Senate Hearing No. 99-529, 99th Cong., 1st Sess., Sept. 19, 1985. Washington, DC: U.S. Govt. Print. Off., 1985. 170 pp. 1991] Music BIBLIOGRAPHY

Hearing on the contents of music and the lyrics of records. Witnesses include Susan Baker, Tipper Gore, and Jeff Ling, representing Parents Music Resource Center; Dee Snider, musician; Joe Stuessy, music professor, University of Texas; Paul King, child and adolescent psy- chiatrist; Frank Zappa, musician; John Denver, musician; Millie Wa- terman, National PTA vice president for legislative activity; Stanley Gortikov, president, Recording Industry Association; Edward 0. Fritts, president, National Association of Broadcasters; William J. Steding, executive vice president, central broadcast division, Bonne- ville International Corporation; Robert Sabatini Jr., representing WRKC-FM, Wilkes-Barre, Pa.; and Cerphe Colwell, radio an- nouncer, WWDC-FM, Washington, D.C. Includes reproductions of record album covers, examples of explicit rock lyrics, and articles from the press.

United States. Library of Congress. Congressional Research Service. Regulating Record Lyrics: A Constitutional Analysis. CRS Report for Congress, June 18, 1987. Washington, DC: Congressional Re- search Service, 1987. 29 pp. Report discusses constitutional issues related to proposals to require that lyrics of certain phonograph records be printed on record jackets or that restrictions on access by minors be placed on certain phonograph records. Discussion includes broadcasting of recorded music, access by minors to allegedly pornographic material, potentially harmful lyrics other than sexually explicit lyrics, and record labeling requirements. Includes bibliographical references.

G. Record Rental United States. Congress. Senate. Committee on the Judiciary. Record Rental Amendment of 1983. Senate Report No. 98-162, 98th Cong., 1st Sess., June 23, 1983. Washington, DC: U.S. Govt. Print. Off., 1983. 12 pp. Recommends passage of S. 32 to prohibit commercial renting, lending, or leasing of phonograph albums for the apparent purpose of private audio recording, except when authorized by the copyright owner. Passed (P.L. 98-450).

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Audio and Video Rental. Senate Hearing No. 98-412, 98th Cong., 1st Sess., Apr. 29, 1983. Washington, DC: U.S. Govt. Print. Off., 1983. 338 pp. Hearing on S. 32 and S. 33, both of which are intended to revise the first sale doctrine to give copyright holders a limited voice in how their property is marketed. S. 32 relates to audio rentals and S. 33 to video rentals. Although most of the witnesses focus on S. 33, there is also testimony and written statements regarding S. 32. Witnesses include Stanley Gortikov, president, Recording Industry Association of America, Inc.; Sal Chiantia, chairman, National Music Publishers' HAST'INGS COMM/ENT L.J. [Vol. 13:811

Association; George David Weiss, president, American Guild of Au- thors and Composers; and John Marmaduke, president Western Mer- chandisers Hastings, on behalf of the National Association of Recording Merchandisers. S.32 passed (PL 98-450).

United States. Congress. House. Committee on the Judiciary. Record Rental Amendment of 1984. House Report No. 98-987, 98th Cong., 2d Sess., Aug. 31, 1984. Washington, DC: U.S. Govt. Print. Off., 1984. 10 pp. Report to accompany H.R. 5938; discusses the background and history of the "first sale" doctrine and contains a section by section analysis of the bill. Also contains the codified text as it appears in Title 17, sections 109 and 115. Companion bill S. 32 passed (P.L. 98-450).

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Audio and Video First Sale Doctrine. Hearings, 98th Cong., 1st and 2d Sess., Oct. 6, 27, Dec. 13, 1983, Feb. 23 and Apr. 12, 1984. Washington, DC: U.S. Govt. Print. Off., 1985. 730 pp. Hearing on H.R. 1027, H.R. 1029, and S. 32, bills to modify the copyright "first sale doctrine." Text of House bills: pp. 727-730. Testifying in favor of the Record Rental Amendment is Stanley M. Gortikov, president, Recording Industry Association; Leonard Feist, president, National Music Publishers Association; George David Weiss, president, AGAC, the Songwriters Guild; and John Marmaduke, former president, National Association of Recording Merchandisers and current president, Hastings Book and Recording Merchandisers and Western Merchandisers. Testifying in opposition to the Amendment is Senator Marlow Cook, currently a practicing attorney representing the Audio Recording Rights Coalition; Dr. Steven R. Brenner, an economist; Father Robert McEwen, a consumer activist representing the Consumer Recording Rights Coalition; and William R. Watts, owner and operator of a record rental business. Also included is the testimony of Prof. David Lange of Duke University Law School. Ad- ditional material includes The Record Rental Amendment: An Analy- sis of Its Consistency with the FirstSale Doctrine and Principlesof Fair Competition, by Robert Pitofsky, Arnold & Porter, April 29, 1983 (pp. 69-87). S. 32, related to H.R. 1027, passed (P.L. 98-450).

United States. Congress. House. Committee on the Judiciary. Record Rental Amendment Extension. House Report No. 100-776, 100th Cong., 2d Sess., July 14, 1988. Washington, DC: U.S. Govt. Print. Off., 1988. 5 pp. Report to accompany H.R. 4310 to extend for an additional five-year period the prohibition on commercial rental, lease, or lending of phonograph records unless authorized by the copyright owner. Related bill S. 2201 passed (P.L. 100-617). 1991] Music BIBLIOGRAPHY

United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Rental of Sound Recordings. Hearing, 100th Cong., 2d Sess., May 5, 1988. Washington, DC: U.S. Govt. Print. Off., 1988. 61 pp. Hearing on H.R. 4310 (text: p.3) a bill to extend for an additional five-year period the prohibition on commercial rental, lease, or lending of phonograph records unless authorized by the copyright owner. Witnesses include Ralph Oman, Register of Copyrights, and Jason Berman, president, Recording Industry Association, both in support of H.R. 4310. Related bill S. 2201 passed (P.L.100-617).

United States. Congress. Senate. Committee on the Judiciary. The Rec- ord Rental Amendment Act. Senate Report No. 100-361, 100th Cong., 2d Sess., July 14, 1988. Washington, DC: U.S. Govt. Print. Off., 1988. 5 pp. Report to accompany S. 2201 to make permanent the provisions of the Record Rental Amendment Act of 1984, Public Law 98-450. Re- port includes legislative history of the Act since the 97th Congress and a discussion of the issue of record rental. Passed (P.L.100-617).

H. Source Licensing United States. Congress. House. Committee on the Judiciary. Subcom- mittee on Courts, Civil Liberties, and the Administration of Justice. Music Licensing Reform. Hearings, 99th Cong., 2d Sess., Mar. 19 and July 23, 1986. Washington, DC: U.S. Govt. Print. Off., 1987. 498 pp. Hearings on H.R. 3521, to amend the Copyright Act to require that the right to broadcast music on the sound track of any prerecorded television program be licensed together with all other copyrights in the program. Program producers or syndicators will be required to acquire music rights from composers or publishers and convey all program rights in one package to TV stations. Written statement by Ralph Oman, Register of Copyrights (pp. 13-60), contains background of TV music licensing, a review of court cases involving the legality of blanket licenses, and arguments for and against source licensing. Witnesses representing TV station interests present testimony on the adverse effects of blanket music licensing on TV stations and in support of the bill. Witnesses representing performing rights societies present testimony on the adverse effects of the bill on musicians' creative incentive and economic situation, and on the effectiveness of the current system of licensing.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Source Licensing. Senate Hearing No. 99-1048, 99th Cong., 2d Sess., Apr. 9, 1986. Washington, DC: U.S. Govt. Print. Off., 1987. 648 pp. HASTINGS COMM/ENT L.J. [Vol. 13:811

Hearing on S. 1980 (text: pp. 4-5), a bill prohibiting TV program producers or syndicators from conveying the right to perform publicly a copyrighted audiovisual work without simultaneously conveying the music rights to that work. Prepared statement of Ralph Oman, Register of Copyrights (pp. 46-90), discusses the background of TV music licensing, court cases involving the legality of blanket licensing, and arguments for and against source licensing. In support of S. 1980 witnesses cite inequities and anticompetitiveness of the blanket licensing system and the adverse economic effects on local TV stations. Witnesses in opposition to S. 1980 cite adverse effects on songwriter royalties and effectiveness of the current system of blanket licensing.

United States. Congress. Senate. Committee on the Judiciary. Subcom- mittee on Patents, Copyrights, and Trademarks. Syndicated Televi- sion Music Copyright Reform Act of 1987. Senate Hearing No. 100- 911, 100th Cong., 1st Sess., Nov. 10, 1987. Washington, DC: U.S. Govt. Print. Off., 1988. 323 pp. Hearing on S. 698, a bill to amend Title 17, United States Code, to prohibit the conveyance of the right to perform publicly syndicated television programs without conveying the right to perform accompanying music (text: pp. 3 -5). Ralph Oman, Register of Copyrights, discusses the impact the proposal will have on individual composers. This version of the bill will give composers an undefined interest in payments made by local broadcasters to copyright owners for programming, the amount of residuals to be negotiated individually since composers are denied the benefits of collective bargaining. Mr. Oman's written statement (pp. 11-60) sets forth the background of licensing rights in televised motion pictures, noting court cases which challenged blanket licensing. The statement also considers arguments for and against source licensing. Other witnesses include: Philip J. Lombardo, Citadel Communications, on behalf of the National Asso- ciation of Broadcasters; Richard DeAngelis, KPHO-TV, Phoenix, representing the Association of Independent TV Stations; C.E. Cooney and Leslie G. Arries, representing the All Industry TV Music License Committee; Bruce Lehman, counsel, All Industry TV Music License Committee; Mike Post, composer; Hal David, representing the American Society of Composers, Authors, and Publishers; Ed- ward M. Cramer, consultant, Broadcast Music, Inc.; A.H. Prager, chairman and president, SESAC; and William C. Cotton and Robert L. Wehling, representing the American Association of Advertising Agencies.

I. Trade United States. Congress. Joint Economic Committee. Subcommittee on Trade, Productivity, and Economic Growth. International Piracy Involving Intellectual Property. Senate Hearing No. 99-1028, 99th Cong., 2d Sess., Mar. 31, 1986. Washington, DC: U.S. Govt. Print. Off., 1987. 97 pp. 1991] Music BIBLIOGRAPHY

The focus of this hearing is piracy of intellectual property rights in international trade, in the areas of computer software, moving picture video cassettes, musical recordings, patents, and chemical formulas. Witnesses include Alexander H. Good, Director General, U.S. and Foreign Commercial Service, Department of Commerce; Stanley M. Gortikov, president, Recording Industry Association of America; and Nesuhi Ertegun, president, International Federation of Phonogram and Videogram Producers.

United States. Congress. Senate. Committee on Finance. Subcommittee on International Trade. Generalized System of Preferences. Senate Hearing No. 99-784, 99th Cong., 2d Sess., June 17, 1986. Washing- ton, DC: U.S. Govt. Print. Off., 1986. 197 pp. Hearing on S. 1867 and Title VI of S. 1860. Purpose of the legislation is to direct the President to transmit legislation to Congress that would remove "newly industrialized countries," specifically Taiwan, Korea, and Hong Kong, from the GSP program allowing duty-free entry for goods from developing countries. Includes testimony and written statement of Stanley M. Gortikov, president, Recording In- dustry Association of America, on behalf of the International Intellec- tual Property Alliance. HASTINGS COMM/ENT L.J. [Vol. 13:811

VII Periodicals

Art and the Law. New York, NY: Volunteer Lawyers for the Arts, v. 1-9, 1974-1985. Quarterly. (Continued by Columbia-VLA Journal of Law & the Arts).

Cardozo Arts & Entertainment Law Journal.New York, NY: Benjamin N. Cardozo School of Law, Yeshiva University, v.l-, 1982-. Semi- annual. (Issue for Spring 1982 also called "Inaugural Issue").

Columbia-VLA Journal of Law & the Arts. New York, NY: Columbia School of Law and Volunteer Lawyers for the Arts, v.10-, 1985-. Quarterly. (Continues Art & the Law).

DePaul-LCA Journal of Art & EntertainmentLaw. Chicago, IL: DePaul University College of Law and Lawyers for the Creative Arts, v. 1-, 1991-. Semi-annual.

Entertainment & Sports Law Journal. Coral Gables, FL: Entertainment & Sports Law Society of the University of Miami School of Law, v.1-5, 1984-1989. Semi-annual. (Continued by University of Miami Entertainment & Sports Law Review).

The Entertainmentand Sports Lawyer. Chicago, IL: American Bar Asso- ciation Forum on the Entertainment and Sports Industries, v.l-, 1982-. Quarterly.

Entertainment Law & Finance. New York, NY: Leader Publications, v.l-, 1985-. Monthly.

Entertainment Law Reporter. Santa Monica, CA: Entertainment Law Reporter Publishing Co., v.1-, 1979-. Monthly.

EntertainmentLaw Review. Oxford, UK: ESC Publishing Limited, v. 1-, 1990-. Bimonthly.

European Intellectual Property Review. Oxford, UK: World Intellectual Property Organization, v. 1-, 1978-. Monthly.

Fordham Entertainment, Media & Intellectual Property Law Forum. New York, NY: Fordham University School of Law, v.l-, 1990-. Semi-annual. 1991] Music BIBLIOGRAPHY 929

Hastings Communications and Entertainment Law Journal (CoMM/ENr). San Francisco, CA: University of California, Has- tings College of the Law, v.1-, 1977-. Quarterly.

InternationalMedia Law: A Monthly Bulletin on Rights, Clearancesand Legal Practice. London, UK: Oyez Longman, v. 1-, 1982-. Monthly.

Loyola Entertainment Law Journal. Los Angeles, CA: Loyola Law School, v.l-, 1981-. Semi-annual (Annual, 1982-1986). (Volume 1 entitled: Entertainment Law Journal).

University of Miami Entertainment & Sports Law Review. Coral Gables, FL: Entertainment & Sports Law Review, University of Miami School of Law, v.6-, 1989-. Semi-annual. (Continues Entertainment & Sports Law Journal).