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MEIEA 2012 Color.Indd Journal of the Music & Entertainment Industry Educators Association Volume 12, Number 1 (2012) Bruce Ronkin, Editor Northeastern University Published with Support from The MEIEA Journal is published annually by the Music & Entertain- ment Industry Educators Association (MEIEA) in order to increase public awareness of the music industry and to foster music business education. The MEIEA Journal provides a scholarly analysis of technological, legal, historical, educational, and business trends within the music indus- try and is designed as a resource for anyone currently involved or interest- ed in the music industry. Topics include issues that affect music industry education and the music industry such as curriculum design, pedagogy, technological innovation, intellectual property matters, industry-related legislation, arts administration, industry analysis, and historical perspec- tives. The MEIEA Journal is distributed to members of MEIEA, univer- sities, libraries, and individuals concerned with the music industry and music business education. Ideas and opinions expressed in the MEIEA Journal do not necessar- ily reflect those of MEIEA. MEIEA disclaims responsibility for statements of fact or opinions expressed in individual contributions. Permission for reprint or reproduction must be obtained in writing and the proper credit line given. Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. [email protected] www.meiea.org The MEIEA Journal (ISSN: 1559-7334) © Copyright 2012 Music & Entertainment Industry Educators Association All rights reserved Editorial Advisory Board Bruce Ronkin, Northeastern University Wesley Bulla, Belmont University Timothy Channell, Radford University Brian Gaber, Florida State University Sally Gross, University of Westminster Michael Johnson, Berklee College of Music Kristél Pfeil Kemmerer, Belmont University David Kopplin, California State Polytechnic University, Pomona Sean McClowry, The College of Saint Rose Gene Perla, Lehigh University Lyn Schenbeck, Central Educational Center: A College and Career Academy David Schreiber, Belmont University Marcy Rauer Wagman, Wagman Dickman, LLC Kim L. Wangler, Appalachian State University Shawn Young, Clayton State University Music & Entertainment Industry Educators Association Purposes and Goals The Music & Entertainment Industry Educators Association (MEIEA®) is an international organization formed in 1979 to bring to- gether educators with leaders of the music and entertainment industries. The primary goal of MEIEA is to facilitate an exchange of information be- tween educators and practitioners in order to prepare students for careers in the music and entertainment industries. In order to seek professional practical knowledge and functional strategies in education, MEIEA endeavors to: • Provide resources for the exchange of information and knowledge about all aspects of the music and entertainment industries; • Foster scholarly research on the music and entertainment industries as well as on music and entertainment industries education; • Assist institutions with the development of music and entertain- ment industries programs and curricula; • Facilitate interaction between the music and entertainment indus- tries and music and entertainment industries educators and affili- ated educational institutions; • Promote student interests in the music and entertainment industries. From The Editor Notice to Contributors The Journal of the Music & Entertain- ment Industry Educators Association is a peer- reviewed journal devoted to all aspects of the music and entertainment industry and music/ entertainment industry education. All feature articles submitted for publication are reviewed by an editorial board consisting of respected scholars, teachers, and industry professionals. Submissions of articles in all areas related to the music and entertainment industry and mu- sic and entertainment industry education are welcome. Articles may be submitted in hard copy or in electronic format. Elec- tronic submissions are preferred and should be sent as email attachments, preferably in Microsoft Word format. Hard copy submissions should be typed on 8½ x 11-inch paper, double-spaced throughout with one-inch margins. All submissions should use the normal style of citation, in confor- mance with the guidelines given in The Chicago Manual of Style. All notes should be consecutively numbered and should appear as endnotes at the conclusion of the manuscript text. In order to facilitate blind review, the author’s name must not ap- pear on the submitted manuscript. A cover letter that clearly identifies the manuscript must be included. The editor will normally give notice of the article’s status within three months of its receipt. The editor also regrets that manuscripts cannot be returned. Authors are responsible for obtaining permission for reproduction from the publishers of all copyrighted material used (musical examples, etc.). Submissions and correspondence should be addressed to: Bruce Ronkin Editor, MEIEA Journal 110 Churchill Hall Northeastern University Boston, MA 02115 U.S.A. [email protected] MEIEA Executive Board Executive Officers President Serona Elton University of Miami Vice President Rush Hicks Belmont University Secretary Catherine Radbill New York University Treasurer David Schreiber Belmont University Membership Kristél Pfeil Kemmerer Belmont University Executive Directors MEIEA Journal Editor Bruce Ronkin Northeastern University MEIEA eZine Editor Alejandro Sánchez-Samper Florida Atlantic University Webmaster Wesley Bulla Belmont University Board Members Cutler Armstrong Butler University Rebecca Chappell Anderson University Carey Christensen California State University, Northridge Storm Gloor University of Colorado Denver Keith Hatschek University of the Pacific Monika Herzig Indiana University John Kellogg (Immediate Past President) Berklee College of Music Ben O’Hara, Australasian Liaison Box Hill Institute Ray Sylvester, European Liaison Buckinghamshire New University Past Presidents John Kellogg (2009-2011) Rey Sanchez (2007-2009) Rebecca Chappell (2003–2007) Tim Hays (1999–2003) Scott Fredrickson (1995–1999) David Hibbard (1993–1995) Janet Nepkie (1989–1993) Michael Fink (1988–1989) Richard Broderick (1986–1988) James A. Progris (1984–1986) David P. Leonard (1982–1984) Jay Collins (1979–1982) MEIEA Sponsors NARM advances the promotion, marketing, distribu- tion, and sale of music and entertainment by providing its members with a forum for diverse meeting and network- ing opportunities, information, and education to support their businesses, as well as advocating for their common interests. www.narm.com SESAC is a performing rights organization with head- quarters in Nashville and offices in New York, Los Ange- les, Atlanta, Miami, and London. www.sesac.com Contents The Industry 13 Unfair? The Unique Status of Sound Recordings under U.S. Copyright Law and its Impact on the Progress of Sample-Based Music Reynaldo Sanchez University of Miami 43 Race, Hegemony, and the Birth of Rock & Roll Paul Linden University of Southern Mississippi 69 The 1969 Creedence Clearwater Revival Recording Contract and How it Shaped the Future of the Group and its Members Hank Bordowitz Bordowitz Media Werx Bergen Community College 91 Historical Changes in the Music Industry Supply Chain: A Perception of the Positioning of the Artist Musician Stanislas Renard Providence College Eastern Connecticut State University Peter Spang Goodrich Providence College Philip Vos. Fellman American Military University 131 What’s Up with MXSups? Interviews with the Purveyors of Cool Andrea Johnson Berklee College of Music Continued on next page 159 Artists’ Chart Careers: A Study of How They’ve Changed Through the Years Storm Gloor University of Colorado Denver Pedagogy 179 EntertainmentManagementOnline.com: Integrating an Online Publication into the Entertainment Management Curriculum Philip C. Rothschild Missouri State University Melissa van Kluyve Missouri State University 195 Slaying the Starving Artist Paradigm and Teaching Professionalism in the Entertainment Business: The Entertainment Law and Professionalism Clinic Cheryl L. Slay Belmont University 209 A Focus on Robert Gagné’s Instructional Theories: Application to Teaching Audio Engineering David Tough Belmont University Student Paper 221 Music Entrepreneurs in the Twenty-First Century: A Case Study on the Career of Jay-Z Leanne Perice Indiana University Reviews 239 Will Hermes. Love Goes to Buildings on Fire: Five Years in New York That Changed Music Forever Ben Neill Ramapo College of New Jersey 241 Kathy Sloane. Keystone Korner: Portrait of a Jazz Club April Brumfield Eastern Kentucky University 246 Stephen Marcone. Managing Your Band: The Ultimate Responsibility (5th edition) Steve Leeds SiriusXM William Paterson University 248 Simon Cann. Jumpstart Your Music Career Bernie Finkelstein. True North: A Life In The Music Business Milton Okun, as told to Richard Sparks. Along the Cherry Lane: Tales from the Life of Music Industry Legend Milton Okun Dick Weissman University of Colorado Denver Portland Community College 12 Vol. 12, No. 1 (2012) Unfair? The Unique Status of Sound Recordings under U.S. Copyright Law and its Impact on the Progress of Sample-Based Music Reynaldo Sanchez University of Miami Introduction On June 3, 2005 in a United States federal courtroom in Nashville, Tennessee, seven words disrupted the age-old, natural cycle of musical development: “Get a license or
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