Labi Siffre - Wikipedia, the Free Encyclopedia
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rejecting the De Minimis Defense to Infringement of Sound Recording Copyrights Michael G
Notre Dame Law Review Volume 93 | Issue 4 Article 12 3-2018 Rejecting the De Minimis Defense to Infringement of Sound Recording Copyrights Michael G. Kubik University of Notre Dame Law School Follow this and additional works at: https://scholarship.law.nd.edu/ndlr Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Michael G. Kubik, Rejecting the De Minimis Defense to Infringement of Sound Recording Copyrights, 93 Notre Dame L. Rev. 1699 (2018). Available at: https://scholarship.law.nd.edu/ndlr/vol93/iss4/12 This Note is brought to you for free and open access by the Notre Dame Law Review at NDLScholarship. It has been accepted for inclusion in Notre Dame Law Review by an authorized editor of NDLScholarship. For more information, please contact [email protected]. \\jciprod01\productn\N\NDL\93-4\NDL412.txt unknown Seq: 1 31-MAY-18 11:29 NOTES REJECTING THE DE MINIMIS DEFENSE TO INFRINGEMENT OF SOUND RECORDING COPYRIGHTS Michael G. Kubik* INTRODUCTION “Get a license or do not sample.”1 The Sixth Circuit’s terse ultimatum in the 2005 Bridgeport Music, Inc. v. Dimension Films decision rejected the com- mon law de minimis2 exception to copying as applied to sound recordings, and for eleven years, Bridgeport stood unchallenged by the courts of appeals, the Supreme Court, and Congress.3 This changed in June 2016 with the Ninth Circuit’s decision in VMG Salsoul, LLC v. Ciccone.4 Confronted with the question of whether the de minimis defense applies to the unauthorized copying of sound recordings, the court openly rejected the Sixth Circuit’s reasoning and held that the de minimis defense applies.5 In doing so, the Ninth Circuit created a circuit split subjecting two centers of the American music industry, Nashville (Sixth Circuit) and Los Angeles (Ninth Circuit), to * Candidate for Juris Doctor, Notre Dame Law School, 2019; Bachelor of Arts, Honors in Philosophy, University of Michigan, 2016. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Morgan Wallen's 'Dangerous' Spends Fourth Week at No. 1 on Billboard
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; ENTERTAINMENTBrett Young ‘Catc NEWSh UPDATE’-es Fifth AirplayFEBRUARY 8, 2021 Page 1 of 25 Leader; Travis Denning Makes History INSIDE Morgan Wallen’s ‘Dangerous’ Spends Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music GroupFourth Nashville), debuts at No. Week1 on Billboard’s lion at audience No. impressions, 1 upon 16%). Billboard Top Country• Olivia AlbumsRodrigo’s chart dated April 18. In its first week (ending April 9), it earned‘Drivers 46,000 License’ equivalent album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingLeads to Hot Nielsen 100 for Music/MRC 4th Data. 200 Albumsand total Country Airplay ChartNo. 1 as “Catch” (Big Machine Label Group) ascends SouthsideWeek, The marks Weeknd Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart &and CJ fourth Hit Top top 10 10. It follows freshman LP BY KEITH CAULFIELD Young’s first of six chart entries, “Sleep With- Montevallo• Super ,Bowl which Synch arrived at the summit in No - out You,” reached No. 2 in December 2016. He vember 2014 and reigned for nine weeks. To date, followed with the multiweek No. 1s “In Case You Report: Sony/ATV Morgan Wallen’s Dangerous: The Double Album holds demand streams of the album’s songs), album sales Montevallo has earned 3.9 million units, with 1.4 Didn’t Know” (two weeks, June 2017), “Like I Loved Walking on Air at No. -
1525 / 1867 1865 1850 / 1920 1920 1935 / 1950 1948 1950 / 1965 1959
This information is based on our own vision and experiences. When you think we are wrong, please mail us, we want you`re opinion, see mail bottom home page “ contact 1525 / 1867 Transatlantic Slave trade > Afrodance 1865 Freedom > Gospel / Jazz / Church choir 1850 / 1920 End of 19th. Cent. / 1e World War > Big band ( Afro ) / Salsa ( latin america ) 1920 Mid 1920`s > Big band ( white ) “ Benny Goodman Glenn Miller “ >> based on Movie music / Charleston 1935 / 1950 2e World War > Big band ( white ) >> commercial way Preformed Combination Big band and Jazz as High School music 1948 After the 2e World War > High school music now preformed as Rock And Roll > “entree of the electric guitar “ & Electric blues > One of the 1e DJ`s on tour was, J.P. Richardson “later named the big bopper “ as rock `n roll star He’s one of the founders of rock and roll for a dj in that time they play 78rpm records till mid 50’s , 45 rpm was promoted in 1949. 1950 / 1965 The birth of POP music > in the mid 50’s R&R explode, new R&R style as the british rock and roll ( cliff richard / the shadows ) 1959 Scepter records > end 50’s Florence Greenberg, founder of Scepter records hired “ Van Allen Clinton McCoy “ as staff writer. >15 Years later was Scepter records one of the famous record labels they promoted DanceMusic, together with Van McCoy. ( why this info, …. see later the mid 70’s ) > In the years between 1958 and 1977 was Motown ( Berry Gordy ) a famous label of soul music, not to be confused with DanceMusic. -
Homestar Karaoke Song Book
HomeStar Karaoke Songs by Artist Karaoke Shack Song Books Title DiscID Title DiscID 10cc Avril Lavigne Good Morning Judge HSW216-04 Sk8er Boi HSW001-07 2 Play B.A. Robertson So Confused HSW022-10 Bang Bang HSG011-08 50 Cent Bang Bang HSW215-01 In Da Club HSG005-05 Knocked It Off HSG011-10 In Da Club HSW013-06 Knocked It Off HSW215-04 50 Cent & Nate Dogg Kool In The Kaftan HSG011-11 21 Questions HSW013-01 Kool In The Kaftan HSW215-05 ABBA To Be Or Not To Be HSG011-12 Chiquitita HSW257-01 To Be Or Not To Be HSW215-09 Chiquitita SFHS104-01 B.A. Robertson & Maggie Bell Dancing Queen HSW251-04 Hold Me HSG011-09 Does Your Mother Know HSW252-01 Hold Me HSW215-02 Fernando HSW257-03 B2K & P. Diddy Fernando SFHS104-02 Bump, Bump, Bump HSW001-02 Gimme Gimme Gimme (A Man After Midnight) HSW257-04 Baby Bash Gimme Gimme Gimme (A Man After Midnight) SFHS104-04 Suga Suga HSW024-09 I Do, I Do, I Do, I Do, I Do HSW252-03 Bachelors, The I Have A Dream HSW258-01 Chapel In The Moonlight HSW205-03 I Have A Dream SFHS104-05 I Wouldn't Trade You For The World HSW205-09 Knowing Me, Knowing You HSW257-07 Love Me With All Of Your Heart HSW206-02 Knowing Me, Knowing You SFHS104-06 Ramona HSW206-06 Mama Mia HSW251-07 Bad Manners Money, Money, Money HSW252-05 Buona Sara HSW204-02 Name Of The Game, The HSW258-09 Hey Little Girl HSW204-05 Name Of The Game, The SFHS104-13 Just A Feeling HSG011-03 S.O.S. -
Journal of the Society for American Music Eminem's “My Name
Journal of the Society for American Music http://journals.cambridge.org/SAM Additional services for Journal of the Society for American Music: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Eminem's “My Name Is”: Signifying Whiteness, Rearticulating Race LOREN KAJIKAWA Journal of the Society for American Music / Volume 3 / Issue 03 / August 2009, pp 341 - 363 DOI: 10.1017/S1752196309990459, Published online: 14 July 2009 Link to this article: http://journals.cambridge.org/abstract_S1752196309990459 How to cite this article: LOREN KAJIKAWA (2009). Eminem's “My Name Is”: Signifying Whiteness, Rearticulating Race. Journal of the Society for American Music, 3, pp 341-363 doi:10.1017/S1752196309990459 Request Permissions : Click here Downloaded from http://journals.cambridge.org/SAM, IP address: 140.233.51.181 on 06 Feb 2013 Journal of the Society for American Music (2009) Volume 3, Number 3, pp. 341–363. C 2009 The Society for American Music doi:10.1017/S1752196309990459 ⃝ Eminem’s “My Name Is”: Signifying Whiteness, Rearticulating Race LOREN KAJIKAWA Abstract Eminem’s emergence as one of the most popular rap stars of 2000 raised numerous questions about the evolving meaning of whiteness in U.S. society. Comparing The Slim Shady LP (1999) with his relatively unknown and commercially unsuccessful first album, Infinite (1996), reveals that instead of transcending racial boundaries as some critics have suggested, Eminem negotiated them in ways that made sense to his target audiences. In particular, Eminem’s influential single “My Name Is,” which helped launch his mainstream career, parodied various representations of whiteness to help counter charges that the white rapper lacked authenticity or was simply stealing black culture. -
CB Names Inigo
r CBS Inf'l Makes Host Of Rep Deals '68 'Grand Gala' Most Successfal Ever NEW YORK—CBS International has Disk, Tune Deals AMSTERDAM—Piet Beishuizen, di- and then there was Sandy Posey. In completed a number of publishing and In a combination recording and pub- rector of the C.C.G.C. (Committee Col- her inimitable way she performed record deals, according to Sol Rabin- lishing deal for Latin America, Rabin- lective Gramaphone Campaign) can some of the hits that made her fa- owitz, director of records acquisitions owitz announced the acquisition of look back to the most successful mous throughout the world and made and publishing operations. “Boogaloo Down Broadway” by The “Grand Gala Du Disque” that ever has her appearance in Holland unforget- Fantastic Johnny C. Distribution been organized in Holland. Every- table. Buffy Sainte-Marie was un- Catalog Deals rights for the recent chart single, as thing went shipshape and the program known to the Dutch people and the not only struck the people in the audi- audience had a little difficulty getting The entire catalogs of several well as for the “Boogaloo Down torium with great enthusiasm but the used to her style. Udo Jurgens is a United States publishers will now be Broadway” album, have been obtained millions of televiewers as well. The performer who needs more than the available for sub-publishing by CBS from Landa Records for CBS Inter- long proigram was televised in colour available ten minutes he had to get International publishing companies in national affiliates throughout Latin I for the first time. -
Who's Who in A&R at Prelude
Who's Who In A&R At Prelude INTRODUCTION: In the last two issues our A&R Spotlight has dealt with relatively large record company A&R staffs. In contrast, Prelude Records is a small new disco oriented label where A&R is very much a part of the overall running of the company. With disco playing an in- creasingly important role in contemporary music, we felt it would be interesting to take a closer look at this emerging new label. PERSONNEL: Marvin Schlachter— President Stan Hoffman — Executive Vice President Starr Arning — Director of Disco Promotion Joe Kolsky — Sales Manager Jeff Deliniko — Controller Gerry Kuster — Production Stacy Frankel — Accounts Receivable Bob Lowe — Retail Promotion Phyllis Katz — Assistant to Controller Eric Plotkin — Mail Room Francois Kevorkian — Director of A&R Brenda Winbush — Receptionist/Secretary MARVIN SCHLACHTER: President A native New Yorker, Marvin received a degree in Business Administration from City College in 1955. After 2 years in the army, he spent 4 months in the CBS mailroom before moving to Cashbox Magazine as an advertising representative from 1958 to 1960. He spent the next 9 years building Scepter Records with Florence Greenberg. As a principal in the company and Executive Vice President, Schlachter played a vital role in Scepter's unprece- dented growth. When Janus Records was established in July of 1969, Marv accepted the firm's Presidency. He promptly established Janus with eleven hit singles, including a gold record and several chart albums in the first year of operation. By March of 1971 he was President of the entire GRT Record Group, including Chess-Janus and GRT Records. -
"Ersatz As the Day Is Long": Japanese Popular
“ERSATZ AS THE DAY IS LONG”: JAPANESE POPULAR MUSIC, THE STRUGGLE FOR AUTHNETICITY, AND COLD WAR ORIENTALISM Robyn P. Perry A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2021 Committee: Walter Grunden, Advisor Jeremy Wallach © 2021 Robyn P. Perry All Rights Reserve iii ABSTRACT Walter Grunden, Advisor During the Allied Occupation of Japan, Supreme Commander for the Allied Powers (SCAP) Douglas MacArthur set forth on a mission to Americanize Japan. One way SCAP decided this could be done was by utilizing forms of media that were already popular in Japan, particularly the radio. The Far East Network (FEN), a network of American military radio and television stations in Japan, Okinawa, Guam, and the Philippines, began to broadcast American country & western music. By the early 1950s, Japanese country & western ensembles would begin to form, which initiated the evolution toward modern J-pop. During the first two decades of the Cold War, performers of various postwar subgenres of early Japanese rock (or J-rock), including country & western, rockabilly, kayōkyoku, eleki, and Group Sounds, would attempt to break into markets in the West. While some of these performers floundered, others were able to walk side-by-side with several Western greats or even become stars in their own right, such as when Kyu Sakamoto produced a number one hit in the United States with his “Sukiyaki” in 1963. The way that these Japanese popular music performers were perceived in the West, primarily in the United States, was rooted in centuries of Orientalist preconceptions about Japanese people, Japanese culture, and Japan that had recently been recalibrated to reflect the ethos of the Cold War. -
The Top of the Poppers Sing and Play Punk
Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’. -
CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1.