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Having trouble reading this email? View it in your browser 06.27.14 DISTRICT COURT CASES George Clinton to Pay His Lawyers in Song In a 9th Circuit opinion, the panel upheld a district court opinion which assigned four of Clinton’s sound recording copyrights to a receiver to satisfy judgments rendered against him by his former lawyers. George Clinton, the renowned musician, bandleader, and producer, hired Hendricks & Lewis (H&L) to represent him in various infringement disputes from March 2005 – August 2008. The work performed on Clinton’s behalf constituted over $3 Million in fees; Clinton refused to pay over $1.72 Million. H&L pursued the enforcement of its pastdue fees in arbitration and then later moved to compel the arbitration award in the District Court of Washington. The underlying appeal surrounds the court’s enforcement of the arbitration award and assignment of master recordings of Clinton’s performances with the group Funkadelic to receivership ("Masters"). The Masters songs at issue are “Hardcore Jollies,” “One Nation Under a Groove,” “Uncle Jam Wants You,” and “The Electric Spanking of War Babies”—all with registered copyrights. The copyrights were originally obtained by Warner Bros. and subsequently transferred to Clinton. Clinton alleges that the assignment of the Masters to receivership was improper and in violation of Copyright Act § 201 (e) which serves as protection to authors for involuntary transfer of their copyrights. The panel reasoned that Clinton was not an “author” of the Masters within the meaning of the act since all four Masters were created under agreements with Warner Bros. -
Plaintiff Must Prove Service on Motion to Vacate Default Judgment by Erin Louise Palmer , Litigation News Contributing Editor – May 12, 2015
Plaintiff Must Prove Service on Motion to Vacate Default Judgment By Erin Louise Palmer , Litigation News Contributing Editor – May 12, 2015 Service by certified mail is insufficient to satisfy the plaintiff’s burden in a motion to vacate a default judgment, according to the U.S. District Court for the Eastern District of Pennsylvania . In Myers v. Moore , the district court granted the defendants’ motion to vacate a default judgment of more than $1 million where the plaintiff failed to demonstrate that the defendants had actual knowledge of the lawsuit and where the plaintiff failed to establish that she properly served the complaint on defendants or their authorized agents. Observers question how a plaintiff would satisfy these evidentiary hurdles. Plaintiff Awarded $1 Million Default Judgment The lawsuit arises out of a stage-diving incident at a music venue in Philadelphia, Pennsylvania. During a performance, the lead singer of the band Fishbone, Angelo C. Moore, dove into the crowd and knocked over the plaintiff, causing her serious injuries. The plaintiff sued Moore, John Noorwood Fisher (Fishbone’s bass player), Fishbone, Fishbone’s manager, and other parties associated with the venue for negligence and civil conspiracy in producing the concert and failing to warn the audience that the concert would feature stage diving. The plaintiff also sued Moore, Fisher, and Fishbone for assault and battery. After the plaintiff reached settlements with some of the defendants, the court dismissed the plaintiff’s claims against the non-settling defendants, including Moore and Fisher. The plaintiff brought another action on February 3, 2012, against the non-settling defendants for negligence, civil conspiracy, and assault and battery. -
Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K. -
Izona S Art: First Album to Be Like a Jackson 5 Thing in the Audience's Eyes That Album (Straight up Pop Without Just Makes the Shows Fun
For the week of Aug. Sept. 10-16 The Lumberjack Happenings A G pseo f Goldfinger Mon. - Thurs. - 5:15, 7:40 H ar kin v Flagstaff I uxurv 11 gets its She’s Sc Lovefy (R) 4650 N. Highway 89 774-4700 (1:30Sat. & Sun. only), 5,7A (9 p.m. Fri. & Sat. only) > I r tyiii The Gamei R) Mon. - Thurs. - 5A 7:30 p.m. hang ups Cl I a-ih. Sat. A Sun. only),!, 2:25,4.5:20, 7,8:10 & (12:40 a.m Fri. & Sal. only). H ercules (G) Flagstaff Mall Cinema out into (10:55 Sat.A Sun. only), 4:20A 9:00 4650 N. Highway 89 52 ^4 5 5 5 Excess Baggage (PG-13) * Jeffrey Bell (10:10 SaL A Sun. only), 1:30,4:30,7:30A 10 Cop L an d (PG-13) Happenings Editor (12:35 a.m. Fri.& Sat. only) (1:45 Sat. - Mon. only), 4:30,7,9:10 & (4:30 p.m. inofifi firm Fri. & Sal. csnly ) the open H oodlum (R) Mon.- Thurs. - 4:45,7p.m. 12:45,3:50,7:20A 10:40 p.m. A ir B ud (R) Four guys from Los AngelesDoubt and the Skeletones G J . Ja n e (R) are ready togive Phoenix the finstopped by to help out. ( 10:30 Sat. A Sun. only), 1:10.4:10, 7:10, 4:45 p.m.A (2:15 Sat.A Sun. only) ger. The Goldfinger "Working with Angelo Moore 10:10 & (i 2:45 a.m. -
George Clinton 2 1757 Devonshire Street, Suite 2 Chatsworth, California 9 13 11 Telephone: (8 18) 709-8388 Facsimile (8 18) 709-8372
COPY I Larry H. Clough (State Bar No. 86104) Attorney for Plaintiff, George Clinton 2 1757 Devonshire Street, Suite 2 Chatsworth, California 9 13 11 Telephone: (8 18) 709-8388 Facsimile (8 18) 709-8372 UNITED STATES DISTRICT COURT CENTRAL DISTRICT OF CALIFORNIA GEORGE CLINTON, Plaintiff, VS. COMPLAINT FOR: NENE MONTES. an individual and d/b/a TERCER MUNDO, INC., a suspended Cal. I. DECLARATORY JUDGMENT (28 U.S.C. 62201) corp, CHARLY ACQUISITIONS, LTD, a 11. COPWGHTINFRINGEMENT Nevis private company, 17 U.S.C. 501 LICENSEMUSIC.COM, ApS, a Denmark f 11. uNAAofUzED USE OF PRE- 1972 SOUND RECORDINGS private company, ARMEN BOLADIAN, an @l Code [ 980h individual, WESTBOUND RECORDS, RESCI SIO (Cal Code 9 1689) INC., a Mich. corp, ACE RECORDS, LTD, V. FRAUD Common Law VI. INJURIb USFALSEH A OD a United Kingdom private company, Common Law UNION SQUARE MUSIC, LTD, a United b11. TRADE& Kingdom private company, SNAPPER COUNTERFEIT 15 U.S.C. 9 1 114) VIII. TRADEMdRK MUSIC, LTD, a United Kingdom private INFRINGEMENT (15 U.S.C. 61 114 company, ATOM MUSIC, LTD, an Ireland IX.UNFAIR COMPETITION" private company, ARTISTRY MUSIC, 15 U.S.C. 1125 a k FALSE !I ESI dl?ATIONOF LTD, a United Kingdom private company, ORIGIN (15 U.S.C. 1125(a SYNC2PICTURE, LLC, a Mich. limited XI. UNFAIR TRAD b PRA 24 ICES Cal Code 17200 liability company, X5 MUSIC GROUP, a LI. MIS&PRO& ATION OF Sweden private company, LIKENESS (Cal Code 93344) Defendants. XIII. MISAPPROPRIATION OF LIKENESS Common Law) XIV. ACCOLN TING XV. CONSTRUCTIVE TRUST Jury Trial Demanded Plaintiff, George Clinton, ("Plaintiff' or "Clinton") by and through undersigned counsel, alleges upon personal knowledge, information, and belief, as follows: Nature of Action 1. -
Arxiv:1904.04948V1 [Cs.SI] 9 Apr 2019 Others Through the Emotions of Music and Its Lyrics [8]
Environmental Changes and the Dynamics of Musical Identity Samuel F. Way,1, 2, ∗ Santiago Gil,2, y Ian Anderson,2, z and Aaron Clauset1, 3, x 1Department of Computer Science, University of Colorado, Boulder, CO, USA 2Spotify, New York, NY, USA 3Santa Fe Institute, Santa Fe, NM, USA Musical tastes reflect our unique values and experiences, our relationships with others, and the places where we live. But as each of these things changes, do our tastes also change to reflect the present, or remain fixed, reflecting our past? Here, we investigate how where a person lives shapes their musical preferences, using geographic relocation to construct quasi-natural experiments that measure short- and long-term effects. Analyzing comprehensive data on over 16 million users on Spotify, we show that relocation within the United States has only a small impact on individuals' tastes, which remain more similar to those of their past environments. We then show that the age gap between a person and the music they consume indicates that adolescence, and likely their environment during these years, shapes their lifelong musical tastes. Our results demonstrate the robustness of individuals' musical identity, and shed new light on the development of preferences. Music is the soundtrack of our lives. It reflects our personify [10{12]. mood and personality, as well as the important people, When a community forms around some kind of music, places, and times in our past [1]. In this way, a person's the surrounding environment takes on an identity of its musical identity|the set of musical tastes or preferences own. -
Carlton Barrett
! 2/,!.$ 4$ + 6 02/3%2)%3 f $25-+)4 7 6!,5%$!4 x]Ó -* Ê " /",½-Ê--1 t 4HE7ORLDS$RUM-AGAZINE !UGUST , -Ê Ê," -/ 9 ,""6 - "*Ê/ Ê /-]Ê /Ê/ Ê-"1 -] Ê , Ê "1/Ê/ Ê - "Ê Ê ,1 i>ÌÕÀ} " Ê, 9½-#!2,4/."!22%44 / Ê-// -½,,/9$+.)"" 7 Ê /-½'),3(!2/.% - " ½-Ê0(),,)0h&)3(v&)3(%2 "Ê "1 /½-!$2)!.9/5.' *ÕÃ -ODERN$RUMMERCOM -9Ê 1 , - /Ê 6- 9Ê `ÊÕV ÊÀit Volume 36, Number 8 • Cover photo by Adrian Boot © Fifty-Six Hope Road Music, Ltd CONTENTS 30 CARLTON BARRETT 54 WILLIE STEWART The songs of Bob Marley and the Wailers spoke a passionate mes- He spent decades turning global audiences on to the sage of political and social justice in a world of grinding inequality. magic of Third World’s reggae rhythms. These days his But it took a powerful engine to deliver the message, to help peo- focus is decidedly more grassroots. But his passion is as ple to believe and find hope. That engine was the beat of the infectious as ever. drummer known to his many admirers as “Field Marshal.” 56 STEVE NISBETT 36 JAMAICAN DRUMMING He barely knew what to do with a reggae groove when he THE EVOLUTION OF A STYLE started his climb to the top of the pops with Steel Pulse. He must have been a fast learner, though, because it wouldn’t Jamaican drumming expert and 2012 MD Pro Panelist Gil be long before the man known as Grizzly would become one Sharone schools us on the history and techniques of the of British reggae’s most identifiable figures. -
T of À1 Radio
ism JOEL L.R.PHELPS EVERCLEAR ,•• ,."., !, •• P1 NEW MUSIC REPORT M Q AND NOT U CIRCLE December 25, 2000 I www.cmj.com 138.0 ******* **** ** * *ALL FOR ADC 90198 24498 Frederick Gier KUOR -REDLANDS 5319 HONDA AVE APT G ATASCADERO, CA 93422-3428 ON BEING NO. 1, TOURING WITH U2 & WHY WILL OLDHAM AND RAYMOND CARVER KICK ASS tof à1 Radio HOW PERFORMANCE ROYALTIES WILL AFFECT COLLEGE RADIO WHAT IT'S DOING TO INDIE RETAIL INCLUDING THE BLAZING HIT SINGLE "OH NO" ALBUM IN STORES NOW EF •TARIM INEWELII KUM. G RAP at MOP«, DEAD PREZ PHARCIAHE MUNCH •GHOST FACE NOTORIOUS J11" MONEY PASTOR TROY Et MASTER HUM BIG NUMB e PRODIGY•COCOA BROVAZ HATE DOME t.Q-TIIP Et WORDS e!' le.‘111,-ZéRVIAIMPUIMTPIeliElrÓ Issue 696 • Vol 65 • No 2 Campus VVebcasting: thriving. But passion alone isn't enough 11 The Beginning Of The End? when facing the likes of Best Buy and Earlier this month, the U.S. Copyright Office other monster chains, whose predatory ruled that FCC-licensed radio stations tactics are pricing many mom-and-pops offering their programming online are not out of business. exempt from license fees, which could open the door for record companies looking to 12 PJ Harvey: Tales From collect millions of dollars from broadcasters. The Gypsy Heart Colleges may be among the hardest hit. As she prepares to hit the road in support of her sixth and perhaps best album to date, 10 Sticker Shock Polly Jean Harvey chats with CMJ about A passion for music has kept indie music being No. -
Playlists for 2002
THE MENACE’S ATTIC Playlists 2002 PLAYLISTS FOR 2002 THE MENACE’S ATTIC ON KUSF: SHOW #1 JANUARY 4, 2002 SET 1: “I’m Going To New York, I’m Goin’ If I Have To Walk” Loco D’Amour – David Byrne N.Y. Doll – David Johansen From “Fear City) Good Guys Bad Guys/Streets of Your Town – Country Joe and The Fish Rockaway Beach – Ramones SET #2 “Sex, Drugs, Rock and Roll and Did I Mention Sex?” Are You Ready for the Sex Girls? – Gleaming Spires NO INTRO! (Rhythm section of Sparks…one member went on to Devo…on soundtrack of Revenge of the Nerds) All You Ever Think About Is Sex – Sparks Discovering Japan – Graham Parker (From Putting Out Sparks, get it? ) Eugene – Crazy Joe and The Variable Speed Band SET #3 “You Gotta Walk the Walk And Talk the Talk” Mambo Italiano – Rosemary Clooney and the Melloman Orchestra (Married to the Mob) Peter Percival Patterson – Monkees Across 110th Street – Bobby Womack (Jackie Brown) SOPRANO’S DIALOGUE Livin’ On A Thin Line – Kinks SET #4 “It’s Called Love – Punk!” Ca Plan Pour Moi – Plastic Bertrand (MIX EM UP) Jet Boy Jet Girl -Elton Motello Alone Again (Or) – Damned Always See Your Face – Love SHOW # 1 THE MENACE’S ATTIC Playlists 2002 THE MENACE’S ATTIC EPISODE #2 Broadcast 1/11/2002 SET 1: Soundtracks without a Celion Dion Song on ‘Em Lively Set – James Darren Ma Nah Mah Nah – (Sweden Heaven and Hell) Kalasnjikov Soundtrack of Underground My Coo Ca Choo – Alvin Stardust (Love Serenade) SET #2 – Mom Can I Be A Singer When I Grow Up? My Baby’s Crazy ‘Bout Elvis – Mike Sarne Viva Las Vegas – Elvis Lust for Life – Tom Jones RoadRunner – Jonathan Richman SET #3 – Pop and Glam! Everywhere At Once - Plimsouls Metal Guru – T. -
In the United States District Court for the Eastern District of Pennsylvania
Case 2:12-cv-00597-JD Document 61 Filed 07/25/14 Page 1 of 15 IN THE UNITED STATES DISTRICT COURT FOR THE EASTERN DISTRICT OF PENNSYLVANIA KIMBERLEY MYERS, : CIVIL ACTION Plaintiff, : : NO. 12-597 v. : : ANGELO C. MOORE, JOHN NORWOOD : FISHER, and FISHBONE, : Defendants. : DuBois, J. February 12, 2014 Amended July 23, 2014 M E M O R A N D U M I. INTRODUCTION This case arises out of an incident that took place at a performance by the musical group Fishbone on February 23, 2010, at the World Café Live venue in Philadelphia, Pennsylvania, during which Fishbone’s lead singer, defendant, Angelo C. Moore (“Moore”), dove into the crowd, knocked plaintiff, Kimberly Moore, to the ground, and caused severe injuries. Based on the following Findings of Fact and Conclusions of Law, judgment is entered in favor of plaintiff and against Moore and John Norwood Fisher (“Fisher”), jointly and severally, for compensatory damages, in the sum of $1,117,145.93, and judgment is entered in favor of plaintiff and against Moore, individually, for punitive damages, in the sum of $250,000. Finally, the Court sua sponte dismisses with prejudice plaintiff’s claims against defendant, Fishbone, pursuant to the Court’s inherent power to dismiss actions for lack of prosecution and Federal Rule of Civil Procedure 41(b). II. PROCEDURAL BACKGROUND In 2010, plaintiff filed suit in this Court (the “first action”) against (1) Moore, (2) Fisher, Case 2:12-cv-00597-JD Document 61 Filed 07/25/14 Page 2 of 15 who is Fishbone’s bass player, (3) Fishbone, (4) Silverback Artist Management (“Silverback”), which is Fishbone’s manager, (5) the Trustees of the University of Pennsylvania, (6) Behind Closed Doors Touring,1 (7) Hajoca Associates, L.P.,2 and (8) Real Entertainment — Philadelphia, Inc.,3 for negligence in producing the February 23, 2010 concert at which plaintiff was injured and in failing to warn the audience that the concert would feature “stage diving.” See Second Amended Complaint, Myers v. -
"The Covenant" Movie Their Darkest Secret Wasn't Meant to Be Shared
DVD Talk Review: Look at All the Love We Found: A Tribute to Sublime Page 1 of 5 "The Covenant" Movie Their Darkest Secret Wasn't Meant To Be Shared. In Theaters Friday. www.JoinTheCovenant.com Ads by Google - Advertise on this site Release Video Coupons Shop Reviews SUBSCRIBE Forum DVD Eggs Advertise List Games Popular Reviews Search: All Reviews For: Search Reviews » DVD Video Reviews » Look at All the Love We Found: A Tribute to Sublime Look at All the Love We Found: A Tribute to Reviews & Columns Sublime Reviews Music Video Distributors // Unrated // $19.95 // June 27, 2006 DVD TV on DVD Review by Jeffrey Robinson | posted August 17, 2006 | E-mail the Author | Start a HD DVD / Blu-ray Discussion International DVDs Theatrical Adult 1. X-3: X-Men - The Last All Male Stand Video Games 2. Lost - The Complete Features Second Season Collector Series DVDs 3. Seven Samurai: Easter Egg Database Criterion Collection (3- Interviews Disc Edition) DVD Talk TV 4. Lucky Number Slevin DVD Talk Radio 5. Thank You For Feature Articles Smoking 6. Brazil: The Criterion Columns Collection (One-Disc Anime Talk Anamorphic Reissue) The Blue Room 7. Marathon Man DVD Stalk DVD Savant C O N T E N T 8. District B13 Editor's Blog 9. Grease: Rockin' Rydell Silent DVD Edition The Movie V I D E O 10. Supernatural: The Complete First Season DVD Talk Forum Select Forum Area... In October 24th, 2005, several bands A U D I O Special Offers gathered together for a live performance at Resources the Henry Fonda Music Box in Hollywood, CA. -
EVERYDAY SUNSHINE: the STORY of Fishbone the INTERRUPTERS
EVERYDAY SUNSHINE: THE INTERRUPTERS PHOTOGRapHED AND DIREctED BY StEVE JamES The Story of FishBone PRODUCED BY ALEX KOtlOWITZ AND StEVE JamES 2011, 125 MINUTES DIREctED BY LEV ANDERSON AND CHRIS METZLER 2011, 107 MINUTES PURCHASE: $395 • claSSROOM RENtal: $95 PURCHASE: $295 • claSSROOM RENtal: $95 Narrated by Laurence Fishburne, Everyday Sunshine charts the turbulent history of the pioneering all-Black rock band Fishbone. This lively documentary tells the story of a band that broke racial stereotypes and, for a brief moment, seemed to challenge the political order of the music industry and the nation. One of the most celebrated documentaries in recent years, The Interrupters is an epic work from acclaimed producer/director Steve James (Hoop “Fascinating… The film is a parable about racial and musical politics in the record Dreams, Stevie) and bestselling author-turned-producer Alex Kotlowitz industry and a slice of social history that gazes back at a scene often overlooked in (There Are No Children Here). An unusually intimate journey into the waves of ’80s and ’90s nostalgia.” —The New York Times stubborn persistence of violence in our cities, this documentary tells the stories of three Interrupters who are part of an innovative program that “Many bands have a might-have-been story, but few have a story that reflects such rich and paradoxical ideas.” —The New Yorker tries to protect their communities from the violence they once employed. Best Documentary of the Year! “Mighty and heartwrenching.” —Roger Ebert ORDER INFORMATION “An enthralling experience… Heroically life-affirming.”— Richard Corliss, Time Magazine Discover additional titles at www.cinemaguild.com/african-american “The most necessary film of the year.