DOCSLIB.ORG

Negotiating Music Licensing and Structuring Deals: Digital Sampling, Royalty Rates, Music Copyright and More

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Negotiating Music Licensing and Structuring Deals: Digital Sampling, Royalty Rates, Music Copyright and More Presenting a live 90-minute webinar with interactive Q&A Negotiating Music Licensing and Structuring Deals: Digital Sampling, Royalty Rates, Music Copyright and More WEDNESDAY, FEBRUARY 8, 2017 1pm Eastern | 12pm Central | 11am Mountain | 10am Pacific Today’s faculty features: Anjan Choudhury, Partner, Munger Tolles & Olson, Los Angeles Steve Gordon, Founder, Steve Gordon Law, New York The audio portion of the conference may be accessed via the telephone or by using your computer's speakers. Please refer to the instructions emailed to registrants for additional information. If you have any questions, please contact Customer Service at 1-800-926-7926 ext. 10. Tips for Optimal Quality FOR LIVE EVENT ONLY Sound Quality If you are listening via your computer speakers, please note that the quality of your sound will vary depending on the speed and quality of your internet connection. If the sound quality is not satisfactory, you may listen via the phone: dial 1-866-570-7602 and enter your PIN when prompted. Otherwise, please send us a chat or e-mail [email protected] immediately so we can address the problem. If you dialed in and have any difficulties during the call, press *0 for assistance. Viewing Quality To maximize your screen, press the F11 key on your keyboard. To exit full screen, press the F11 key again. Continuing Education Credits FOR LIVE EVENT ONLY In order for us to process your continuing education credit, you must confirm your participation in this webinar by completing and submitting the Attendance Affirmation/Evaluation after the webinar. A link to the Attendance Affirmation/Evaluation will be in the thank you email that you will receive immediately following the program. For additional information about continuing education, call us at 1-800-926-7926 ext. 35. Program Materials FOR LIVE EVENT ONLY If you have not printed the conference materials for this program, please complete the following steps: • Click on the ^ symbol next to “Conference Materials” in the middle of the left- hand column on your screen. • Click on the tab labeled “Handouts” that appears, and there you will see a PDF of the slides for today's program. • Double click on the PDF and a separate page will open. • Print the slides by clicking on the printer icon. INTRODUCTION TO MUSIC CLEARANCES STEVEGORDONLAW.COM [email protected] 212 924 1166 BASIC CONCEPTS AND DEFINITIONS “MUSIC CLEARANCES” 6 MUSIC CLEARANCES • MUSIC CLEARANCES = SECURING LICENSES TO USE PRE-EXISTING SONGS AND MUSIC RECORDINGS FOR VARIOUS PROJECTS • MUSIC CLEARANCES DOES NOT PERTAIN TO CREATING NEW MUSIC (e.g., HIRING A MUSICIAN OR A COMPOSER TO CREATE ORIGINAL MUSIC) 7 EXAMPLES OF MUSIC CLEARANCE PROJECTS • “ELVIS BY THE PRESLEYS” –DOC AIRED ON NETWORK TV—SECURED LICENSES TO USE DOZENS OF SONGS RECORDED BY ELVIS • “FRONT AND CENTER”—TV CONCERT SERIES ON PBS FEATURING VARIOUS BLUES ARTISTS—SECURING LICENSES TO USE THE SONGS THAT THE ARTISTS PERFORMED IN THE SHOW (e.g., BUDDY GUY PLAYED SONGS BY HENDRIX, DYLAN AND OTHERS) 8 “MUSIC CLEARANCES” VS “MUSIC LICENSING” “MUSIC LICENSING” IS SOMETIMES USED TO REFER TO MUSIC CLEARANCES, BUT IS ALSO USED TO REFER TO THE “SYNCH BUSINESS” 9 NUTS AND BOLTS MUSICAL COMPOSITIONS (“SONGS”) VS MUSIC RECORDINGS (“MASTERS”) VS FOOTAGE CONTAINING MUSIC (“FOOTAGE”) 10 11 SONG SPANISH HARLEM BMI Work #1393049 Songwriter/Composer Current Affiliation CAE/IPI # LEIBER, JERRY BMI 17713791 SPECTOR, PHILIP BMI 63684950 Publishers Current Affiliation CAE/IPI # ABKCO MUSIC, INC. BMI 56388746 SONY/ATV SONGS, LLC BMI 187062752 12 MASTER 13 FOOTAGE THE BEATLES ON THE ED SULLIVAN SHOW SOFA Entertainment, owners of the Ed Sullivan Show, own footage including the recording contained in the footage. 14 PUBLIC DOMAIN/SONGS Works Registered or First Published in the U.S. Date of Publication Conditions Copyright Term Before 1923 None None. In the public domain due to copyright expiration Copyright Term and the Public Domain in the United States copyright.cornell.edu/resources/publicdomain.com 15 PUBLIC DOMAIN/MASTERS Date of Fixation/Publication Duration of Copyright Fixed prior to 15 Feb. 1972 Subject to state statutory and/or common law protection. Fully enters the public domain on 15 Feb. 2067 15 Feb. 1972 to 1978 95 years from publication. 2068 at the earliest 1978 to 1 March 1989 70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation. 2049 at the earliest After 1 March 1989 70 years after death of author, or if work of corporate authorship, the shorter of 95 years from publication, or 120 years from creation. 2049 at the earliest 16 MFN Most Favored Nations: In the event Licensee grants more favorable terms including, without limitation, additional consideration in any form, to the co-publisher(s) of the Composition or the party granting rights to use the master recording thereof (if applicable) in the Motion Picture, Licensee shall notify Licensor thereof, and this Agreement shall be deemed amended to incorporate same as of the date when such higher fee is paid or such more favorable terms are granted to such third party, and to continue for the duration of the period which such more favorable terms are granted. 17 PBS Special Rules for Public Broadcast Stations are Favorable for Producers Songs Section 118 provides for a statutory license subject to rates negotiated by PBS and publishers. PBS, on the producers’ behalf—with funding from the Corporation for Public Broadcasting—will pay the federally prescribed fees to the copyright owners. (But Section 118 does not provide for a statutory license for any other windows including home video.) Masters Section 114(b) The exclusive rights of the owner of copyright in a sound recording . do not apply to sound recordings included in educational television and radio programs . distributed or transmitted by or through public broadcasting entities . Provided that copies or phonorecords of said programs are not commercially distributed by or through public broadcasting entities to the general public. (Again, clearances are required for other windows.) 18 DOCS (SONGS AND OPTION 1: Basic Cable or Pay Television MASTERS) TERRITORY: United States & Canada Term: 3 Years Home Video FEE: $1,000.00 per song Royalty: 10 cents PBS Pledge only OPTION 2: Foreign Television OR 12 cents for PBS Pledge, TERRITORY: World excluding United States & Canada commercial DVD and downloads of full programs. Term: 3 Years Advance: 2,500 units ($300) with FEE: $1,000.00 per song rollovers every 2,500 units thereafter OPTION 3: Internet Streaming Services (eg. Hulu, Netflix) Territory: U.S. TERRITORY: World Term: 7 Years TERM: 3 Years FEE: $1,000.00 per song OPTION 4: Airplane and Closed Circuit TERRITORY: World Term: 3 Years FEE: $500.00 per song (Offer same terms for concert programs) 19 FEATURE MOVIES (INDIE MOVIE) RIGHTS: Film Festival/One (1) year/ World $500 OPTION: All Media Broad Rights Step Deal: Media: All media now known or hereafter devised Initial Fee: $2500 With Steps of $2000 at $3M, $5M, $8M, $10M, $12M and $15M worldwide gross receipts based in ALL forms of exploitation (including but not limited to theatrical, all videograms/DVD, all TV media, and Internet streaming and downloading). (Factors in determining price – Identity of song or master; use, i.e., foreground/background or over credits; personalities and approvals) 20 TV Producers will seek buy-outs of all rights in perpetuity Example: $12,000 for excerpts of 2 songs in HBO docudrama Spectrum: MTV will offer $0 for songs by new bands to be used in any of their programs The bands only get ASCAP BMI $ Cable shows will offer a few thousand to a few more thousand for emerging acts Bruno Mars will cost $25,000 and up 21 “TOMORROW NEVER KNOWS” IN MAD MEN In 2012 Lionsgate, the studio that produces “Mad Men” for AMC paid about $250,000 for the recording and publishing rights for the Beatles’ “Tomorrow Never Knows.” "Tomorrow Never Knows" was used at the end of an episode in Season 5 of Mad Men. 22 MUSICAL THEATRE • No advances • 4-5% of Gross Box Office • Pro-rated by the number of songs • Denials depending on identity of writer 23 ADVERTISING Price: • $0 for current hit song in a promo for homeless dog • $5,000 for Billy Ocean hit from 80’s for ten days in five small markets for commercial for car show • $375,000 for song and $375,000 for master for national TV commercial for life insurance • Other terms: Duration – usually no longer than a year; Media – on-line in addition to TV may cost extra; Identity of song – obscure songs may be cheap • Save 50% by re-recording 24 STAND-ALONE DIGITAL PROJECTS Apps Simulcasting Webisodes and web series Kickstarter videos Digital sheet music Lyric sites Artists Websites Music Webzines and Blogs Ringtones and Ringbacks Video Games 25 APPS BEWARE BLANKET LICENSES FROM MAJORS: Major Label 1: Advance: $50,000 advance Minimum guarantee: $250,000 for one year. Royalty: 70% of gross revenues deriving from that label's masters. Territory: U.S. only Major Label 2: Advance $350,000 advance payable upon execution Additional $20,000 "content prep fee" also payable upon execution. After the first year $30,000 would be due at the beginning of each month. Royalty: 50% of revenues from that label's masters. Territory US Only Publishing included 26 OTHER STAND-ALONE DIGITAL PROJECTS Simulcasting (PRO licenses) Webisodes and web series (Similar to TV) Kickstarter videos Digital sheet music (Pennies for downloads) Lyric sites (LyricFind) Artists Websites (avoid covers) Music Webzines and Blogs (Pitchfork - avoid covers) Ringtones and Ringbacks (26 cents) Video Games (buy-outs) 27 ALTERNATIVES (ESPECIALLY FOR ADS, TV, AND MOVIES) • Music libraries (“stock music”) • Commission/Work for hire 28 The Legal Landscape of Digital Music Licensing in a Streaming World Presented by: Anjan Choudhury February 8, 2017 LOS ANGELES | SAN FRANCISCO | WASHINGTON, D.C.| MTO.COM Nice to meet you! Anjan Choudhury Partner, Litigation Los Angeles T: (213) 683-9107 [email protected] Education Harvard Law School (J.D., magna cum laude, 2004) George Washington University (B.A., summa cum laude, 2001) LOS ANGELES | SAN FRANCISCO | WASHINGTON, D.C.| MTO.COM Agenda .
Load more

Recommended publications
  • BWTB Revolver @ 50 2016
    1 PLAYLIST AUG. 7th 2016 Part 1 of our Revolver @ 50 Special~ We will dedicate to early versions of songs…plus the single that preceded the release of REVOLVER…Lets start with the first song recorded for the album it was called Mark 1 in April of 1966…good morning hipsters 2 9AM The Beatles - Tomorrow Never Knows – Revolver TK1 (Lennon-McCartney) Lead vocal: John The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded. Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape machine, he could saturate a recording with sound. A bit of….The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul 3 The Beatles - Here, There And Everywhere / TK’s 7 & 13 - Revolver (Lennon-McCartney) Lead vocal: Paul Written by Paul while sitting by the pool of John’s estate, this classic ballad was inspired by The Beach Boys’ “God Only Knows.” Completed in 14 takes spread over three sessions on June 14, 16 and 17, 1966.
    [Show full text]
  • Harmonic Resources in 1980S Hard Rock and Heavy Metal Music
    HARMONIC RESOURCES IN 1980S HARD ROCK AND HEAVY METAL MUSIC A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory by Erin M. Vaughn December, 2015 Thesis written by Erin M. Vaughn B.M., The University of Akron, 2003 M.A., Kent State University, 2015 Approved by ____________________________________________ Richard O. Devore, Thesis Advisor ____________________________________________ Ralph Lorenz, Director, School of Music _____________________________________________ John R. Crawford-Spinelli, Dean, College of the Arts ii Table of Contents LIST OF FIGURES ............................................................................................................................... v CHAPTER I........................................................................................................................................ 1 INTRODUCTION ........................................................................................................................... 1 GOALS AND METHODS ................................................................................................................ 3 REVIEW OF RELATED LITERATURE............................................................................................... 5 CHAPTER II..................................................................................................................................... 36 ANALYSIS OF “MASTER OF PUPPETS” ......................................................................................
    [Show full text]
  • “The Beatles Raise the Bar-Yet Again”By Christopher Parker
    “The Beatles Raise the Bar-Yet Again” by Christopher Parker I know what you’re thinking. You’re thinking, Parker, everyone knows that 1967’s Sgt. Pepper‘s Lonely Hearts Club Band is the Beatles’ greatest album and in fact the greatest album of all time. Nope. No way. I beg to differ. In my humble opinion, 1966’s Revolver, the Beatles album released the year before Sgt. Pepper, is the greatest. Why, you ask? In many ways, Revolver was the beginning of a new era, not only in the career of the Beatles, but in the ever-changing world of rock & roll. The world’s greatest rock band was beginning to tire of the endless touring amidst the chaos of Beatlemania. The constant battling against hordes of screaming fans, and a life lived being jostled and shoved from one hotel room to another were becoming more than tiresome. In addition, during a concert, the volume of screams often exceeded 120 decibels-approximately the same noise level as one would be exposed to if he were standing beside a Boeing 747 during takeoff. No one was listening to their music, and consequently, they were beginning to feel like, as John Lennon would later say, ‘waxworks’ or ‘performing fleas.’ Revolver signals a change from the ‘She Loves You’ era-relatively simple songs of love and relationships- to a new era of songs designed to be listened to. These were songs that could never be played at a live concert. They were creations-works of art-songs that were created to be appreciated and discussed-not to elicit screams from teenage girls.
    [Show full text]
  • The Beatles on Film
    Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964
    [Show full text]
  • TOMORROW NEVER KNOWS One, Traveling Across Town to Buy a Second Bolt of Gingham
    128 CHICAGO QUARTERLY REVIEW Catherine WONG 129 year later at age fifteen, she passed it on to me and made him a larger TOMORROW NEVER KNOWS one, traveling across town to buy a second bolt of gingham. At the time, Catherine Wong I resented the outfits, which she laid on our beds for these useless parties sometimes six days in advance. I recognize, only now, what I did not understand then, how loneliness can wash away even the acid taste of bartered company. ur father sent us to San Francisco the week that Leah lost The day after our mother left, I walked into the kitchen to find my the last of her baby teeth. Milk teeth, our mother would father hunched against the wall and nodding as Bill and Linda consoled have said, but she had run away three days before to New him over the telephone. Though I have tried, I cannot forget how he O looked, defeat worn so visibly into his shoulders that I turned my head York City. That was the week our father boiled hot dogs every night for dinner. away. On Sunday he called the three of us into the living room before They go with everything, he explained, though when the buns ran out, he dinner and announced that they would be taking us into their apartment never bought another pack. For months he had been revising the errata for the summer so he could spend some time alone figuring things out. of one of his textbooks, on the material nature of time.
    [Show full text]
  • The Role of the Beatles in Popularizing Indian Music and Culture in the West Rodrigo Guerrero Faculty Advisors: Dr
    32 The Role of The Beatles in Popularizing Indian Music and Culture in the West Rodrigo Guerrero Faculty Advisors: Dr. Charles Brewer, Dr. Sarah Eyerly, and Dr. Douglass Seaton College of Music Abstract: The Beatles were responsible for several long-lasting innovations that shaped the history of pop music and Western culture in general. As a British rock band that dominated the popular music scene during the 1960s, they made one of their most significant, yet sometimes overlooked, contributions through the incorporation of elements from Indian culture in their music and lyrics. This essay discusses the role that the Beatles played in introducing and popularizing certain features of Indian culture, and specifically Indian music, in the Western hemisphere. I first describe their relationship with Indian culture. In this section, I bring forth questions, such as why they became interested in this culture, why they decided to go on a spiritual retreat to India, and how the trip influenced their thoughts about foreign culture. After that, this essay analyzes the influence of Indian culture and Indian music on the Beatles’ lyrics and music, respectively. Finally, I will illuminate the lasting effect that this cross- fertilization had in subsequent years. he 1960s was a decade of experimentation in popular music. The Beatles, the British rock band that dominated the popular music scene Tduring this decade, was responsible for long-lasting innovations that would shape the history and style of pop music and Western culture. One of their most significant, yet overlooked, contributions to Western culture was the incorporation of Indian musical elements into their songs.
    [Show full text]
  • MASARYK UNIVERSITY BRNO FACULTY of EDUCATION Department of English Language and Literature
    MASARYK UNIVERSITY BRNO FACULTY OF EDUCATION Department of English Language and Literature The Beatles in the Context of the Hippie Movement Bachelor Thesis Brno 2017 Supervisor: Mgr. Lucie Podroužková, Ph.D. Author: Zita Biberlová Declaration I hereby declare that I worked on my thesis independently, using only the sources listed in the bibliography. I agree with storing of this work in the library of the Faculty of Education at the Masaryk University Brno and making it accessible for study purposes. Prohlášení Prohlašuji, že jsem závěrečnou bakalářskou práci vypracovala samostatně, s využitím pouze citovaných pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právechsouvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. V Brně dne 28.3. 2017 ______________________ Zita Biberlová Acknowledgements I would like to gratefully thank Mgr. Lucie Podroužková, Ph.D. for her kind help, patience and advice she provided throughout the whole process of my writing. I also want to thank the whole Department of English Language and Literature for creating a friendly atmosphere during my studies. Last but not least, I thank my family and friends for their sense of black humour in terms of finishing my thesis. Annotation The bachelor thesis “The Beatles in the Context of the Hippie Movement” deals with the British music group The Beatles and the analysis of their lyrics that are related to the hippie movement. The aim of the work is to identify a possible connection and influence of The Beatles' on the hippie movement.
    [Show full text]
  • MTV Games and Harmonix Unveil Next 15 Songs Featured in the Beatles(TM): Rock Band (TM)
    MTV Games and Harmonix Unveil Next 15 Songs Featured in The Beatles(TM): Rock Band (TM) One of the Most Anticipated Music Video Game of 2009 to Include "Twist And Shout," "Sgt. Pepper's Lonely Hearts Club Band," "Revolution," "Yellow Submarine" and More NEW YORK, July 21 -- MTV Games and Harmonix, the world's leading developer of music-based games and a part of Viacom's MTV Networks (NYSE: VIA, VIA.B), today revealed 15 more of the 45 on-disc tracks that will be featured in The Beatles™: Rock Band™. A gameplay trailer featuring eight of the 15 newly announced songs can be viewed by visiting www.thebeatlesrockband.com. Following the world premiere of The Beatles: Rock Band at the Microsoft press briefing at the 2009 E3 Media & Business Summit last month, the newly announced 15 songs represent a cross-section of hits and favorites that span The Beatles' storied career from Can't Buy Me Love and Paperback Writer to With A Little Help From My Friends and Yellow Submarine, bringing the total number of announced songs to 25. The 15 new songs for The Beatles: Rock Band and the venues they are featured in are: -- Twist And Shout / Cavern Club -- Do You Want To Know A Secret / Cavern Club -- Can't Buy Me Love / Ed Sullivan Theater -- I Wanna Be Your Man / Ed Sullivan Theater -- Eight Days A Week / Shea Stadium -- Paperback Writer / Budokan -- And Your Bird Can Sing / Budokan -- Yellow Submarine / Abbey Road Dreamscape -- Sgt. Pepper's Lonely Hearts Club Band* / Abbey Road Dreamscape -- With a Little Help from My Friends* / Abbey Road Dreamscape -- Within You Without You / Tomorrow Never Knows / Abbey Road Dreamscape -- Revolution / Abbey Road Dreamscape -- Birthday / Abbey Road Dreamscape -- Dig A Pony / Rooftop Concert -- I've Got A Feeling / Rooftop Concert Additional on-disc songs will be announced at a later date.
    [Show full text]
  • 1967: a Year in the Life of the Beatles
    1967: A Year In The Life Of The Beatles History, Subjectivity, Music Linda Engebråten Masteroppgave ved Institutt for Musikkvitenskap UNIVERSITETET I OSLO November 2010 Acknowledgements First, I would like to express my gratitude towards my supervisor Stan Hawkins for all his knowledge, support, enthusiasm, and his constructive feedback for my project. We have had many rewarding discussions but we have also shared a few laughs about that special music and time I have been working on. I would also like to thank my fellow master students for both useful academically discussions as much as the more silly music jokes and casual conversations. Many thanks also to Joel F. Glazier and Nancy Cameron for helping me with my English. I thank John, Paul, George, and Ringo for all their great music and for perhaps being the main reason I begun having such a big interest and passion for music, and without whom I may not have pursued a career in a musical direction at all. Many thanks and all my loving to Joakim Krane Bech for all the support and for being so patient with me during the course of this process. Finally, I would like to thank my closest ones: my wonderful and supportive family who have never stopped believing in me. This thesis is dedicated to my grandparents. There are places I'll remember All my life though some have changed. Some forever not for better Some have gone and some remain. All these places have their moments With lovers and friends I still can recall. Some are dead and some are living, In my life I've loved them all.
    [Show full text]
  • A Unit on the Beatles Grade 5 Objective: Students Will Learn To
    A Unit on The Beatles Grade 5 Objective: Students will learn to appreciate the Beatles and will apply their musical skills to a Beatles song. Materials: - Laptop - Chords and Lyrics to Yellow Submarine - Guitar - Answer Sheet - Song sign-up sheet - Classroom instruments - Chords and lyrics to Let it Be - Picture of a Sitar - Beatles cover songs - Lesson 1 – Questionnaire opener - Write these questions on the board and go over each of them one by one o What was the first rock band to successfully combine their music with the music of different cultures? o What band was the first to use “sampling” or loops (sounds or small sections from other songs) in the recording studio much like today’s rap and R + B artists? o What band is the most covered band in History? o What band sold more albums in the United States than any other artist in History? (Billions) o What band was one of the first to use distorted guitars and successfully record a song with beginning elements of heavy metal? o What was the first band to have a more aggressive style of stage presence? o What band was the first to popularize the standard rock quartet setup, consisting of drums, guitar or two, bass and vocals? - Have ready: Helter Skelter, Norwegian Wood, Tomorrow Never Knows/Revolution 9. Ask what they put down for answers. After they have given their answers let them know the answer to all of these questions: The Beatles. Explain: Keep in mind; there was nothing like what they were doing anywhere else in the world.
    [Show full text]
  • Top 5 Rock Albums of All Time, a Conversation with Professor Glenn Gass Video Transcript
    Top 5 Rock Albums of All Time, A Conversation with Professor Glenn Gass Video Transcript https://vimeo.com/213510632 [Video: Black and white image of Glenn Gass displaying Booker T & The MG’s album cover; moves to a bookcase filled with albums and pulls a Beatles album cover] Glenn Gass: I don't think you can understand any period of time without understanding its art. I think historically it's essential and hopefully, personally it’s essential. [Video: The words “IU” on crimson banner left] [Video: The word “DAY” on red banner right] [Video: Two banners come together to form the IU DAY banner] [Words appear and encircle top and bottom of IU Day banner: ALL IU. ALL DAY.] [Words appear on black film strip with IU DAY banner at top: TOP 5 ROCK ALBUMS OF ALL TIME, A Conversation with Professor Glenn Gass [Video: Glenn Gass sitting in a chair behind his desk in his office with colorful psychedelic posters on the wall behind him] [Words appear: Glenn Gass, Provost Professor, Jacobs School of Music] Glenn Gass continues: I always cringe at these lists of greatest singers of all time, greatest albums of all time, but they're fun. Who doesn't like to make their own list as long as you don't feel like you're speaking for anybody else. [Video: Glenn Gass displays The Beatles Sgt. Pepper’s Lonely Heart Club album] [Words Appear: #1 Sgt. Pepper’s Lonely Heart Club Band, The Beatles} Glenn Gass continues: But since this is 2017, it is the 50th anniversary, I just happen to have my original mono copy of Sgt.
    [Show full text]
  • THE BEATLES IMAGE: MASS MARKETING 1960S BRITISH and AMERICAN MUSIC and CULTURE, OR BEING a SHORT THESIS on the DUBIOUS PACKAGE of the BEATLES
    THE BEATLES IMAGE: MASS MARKETING 1960s BRITISH AND AMERICAN MUSIC AND CULTURE, OR BEING A SHORT THESIS ON THE DUBIOUS PACKAGE OF THE BEATLES by Richard D Driver, Bachelor of Arts A Thesis In HISTORY Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Approved Aliza S Wong Randy McBee John Borrelli Dean of the Graduate School May, 2007 Copyright 2007, Richard Driver Texas Tech University, Richard D Driver, May 2007 ACKNOWLEDGMENTS This work could not have been possible without the encouragement and guidance of a number of individuals, as well as countless persons who pulled books, worked through interlibrary loans, and simply listened to me talk about it. Without the guidance, tolerance, insight, time, and encouragement of my committee, Aliza S Wong and Randy McBee, this thesis would have remained nothing more than a passing thought. Aliza, more than any other professor has been there for me since this project truly began over two years ago. It was her initial push for me to write about something I loved that drove me to attend Graduate school and then build upon what I had done previously with The Beatles “image.” Dr. McBee provided excellent guidance into understanding many of the post-war American facets of this work, not simply those related to The Beatles or music in general. Additional thanks are reserved for Dr. Julie Willett for her class on sexuality and gender where new methods and modes of historical thought were founded in this work. Finally, this thesis would have been impossible had I not been accepted into and granted a teaching position in the History Department at Texas Tech University, and it is to the entire department that I owe my greatest thanks.
    [Show full text]