Music Licensing Under Title 17 (Part I & Ii)

Total Page:16

File Type:pdf, Size:1020Kb

Music Licensing Under Title 17 (Part I & Ii) MUSIC LICENSING UNDER TITLE 17 (PART I & II) HEARING BEFORE THE SUBCOMMITTEE ON COURTS, INTELLECTUAL PROPERTY, AND THE INTERNET OF THE COMMITTEE ON THE JUDICIARY HOUSE OF REPRESENTATIVES ONE HUNDRED THIRTEENTH CONGRESS SECOND SESSION JUNE 10 AND JUNE 25, 2014 Serial No. 113–105 Printed for the use of the Committee on the Judiciary ( Available via the World Wide Web: http://judiciary.house.gov MUSIC LICENSING UNDER TITLE 17 (PART I & II) MUSIC LICENSING UNDER TITLE 17 (PART I & II) HEARING BEFORE THE SUBCOMMITTEE ON COURTS, INTELLECTUAL PROPERTY, AND THE INTERNET OF THE COMMITTEE ON THE JUDICIARY HOUSE OF REPRESENTATIVES ONE HUNDRED THIRTEENTH CONGRESS SECOND SESSION JUNE 10 AND JUNE 25, 2014 Serial No. 113–105 Printed for the use of the Committee on the Judiciary ( Available via the World Wide Web: http://judiciary.house.gov U.S. GOVERNMENT PRINTING OFFICE 88–240 PDF WASHINGTON : 2014 For sale by the Superintendent of Documents, U.S. Government Printing Office Internet: bookstore.gpo.gov Phone: toll free (866) 512–1800; DC area (202) 512–1800 Fax: (202) 512–2104 Mail: Stop IDCC, Washington, DC 20402–0001 COMMITTEE ON THE JUDICIARY BOB GOODLATTE, Virginia, Chairman F. JAMES SENSENBRENNER, JR., JOHN CONYERS, JR., Michigan Wisconsin JERROLD NADLER, New York HOWARD COBLE, North Carolina ROBERT C. ‘‘BOBBY’’ SCOTT, Virginia LAMAR SMITH, Texas ZOE LOFGREN, California STEVE CHABOT, Ohio SHEILA JACKSON LEE, Texas SPENCER BACHUS, Alabama STEVE COHEN, Tennessee DARRELL E. ISSA, California HENRY C. ‘‘HANK’’ JOHNSON, JR., J. RANDY FORBES, Virginia Georgia STEVE KING, Iowa PEDRO R. PIERLUISI, Puerto Rico TRENT FRANKS, Arizona JUDY CHU, California LOUIE GOHMERT, Texas TED DEUTCH, Florida JIM JORDAN, Ohio LUIS V. GUTIERREZ, Illinois TED POE, Texas KAREN BASS, California JASON CHAFFETZ, Utah CEDRIC RICHMOND, Louisiana TOM MARINO, Pennsylvania SUZAN DelBENE, Washington TREY GOWDY, South Carolina JOE GARCIA, Florida RAU´ L LABRADOR, Idaho HAKEEM JEFFRIES, New York BLAKE FARENTHOLD, Texas DAVID N. CICILLINE, Rhode Island GEORGE HOLDING, North Carolina DOUG COLLINS, Georgia RON DeSANTIS, Florida JASON T. SMITH, Missouri [Vacant] SHELLEY HUSBAND, Chief of Staff & General Counsel PERRY APELBAUM, Minority Staff Director & Chief Counsel SUBCOMMITTEE ON COURTS, INTELLECTUAL PROPERTY, AND THE INTERNET HOWARD COBLE, North Carolina, Chairman TOM MARINO, Pennsylvania, Vice-Chairman F. JAMES SENSENBRENNER, JR., JERROLD NADLER, New York Wisconsin JOHN CONYERS, JR., Michigan LAMAR SMITH, Texas JUDY CHU, California STEVE CHABOT, Ohio TED DEUTCH, Florida DARRELL E. ISSA, California KAREN BASS, California TED POE, Texas CEDRIC RICHMOND, Louisiana JASON CHAFFETZ, Utah SUZAN DelBENE, Washington BLAKE FARENTHOLD, Texas HAKEEM JEFFRIES, New York GEORGE HOLDING, North Carolina DAVID N. CICILLINE, Rhode Island DOUG COLLINS, Georgia ZOE LOFGREN, California RON DeSANTIS, Florida SHEILA JACKSON LEE, Texas JASON T. SMITH, Missouri STEVE COHEN, Tennessee [Vacant] JOE KEELEY, Chief Counsel HEATHER SAWYER, Minority Counsel (II) C O N T E N T S JUNE 5, 2014 Page HEARINGS Tuesday, June 10, 2014 Music Licensing Under Title 17 (Part I) ............................................................ 1 Wednesday, June 25, 2014 Music Licensing Under Title 17 (Part II) ........................................................... 231 OPENING STATEMENTS The Honorable Howard Coble, a Representative in Congress from the State of North Carolina, and Chairman, Subcommittee on Courts, Intellectual Property, and the Internet .................................................................................. 1 The Honorable John Conyers, Jr., a Representative in Congress from the State of Michigan, Ranking Member, Committee on the Judiciary, and Member, Subcommittee on Courts, Intellectual Property, and the Internet .. 2 The Honorable Bob Goodlatte, a Representative in Congress from the State of Virginia, and Chairman, Committee on the Judiciary ................................. 3 The Honorable Jerrold Nadler, a Representative in Congress from the State of New York, and Ranking Member, Subcommittee on Courts, Intellectual Property, and the Internet .................................................................................. 3 WITNESSES Neil Portnow, President/CEO, The Recording Academy Oral Testimony ..................................................................................................... 7 Prepared Statement ............................................................................................. 10 Lee Thomas Miller, Songwriter and President, Nashville Songwriters Associa- tion International Oral Testimony ..................................................................................................... 16 Prepared Statement ............................................................................................. 18 David M. Israelite, President and Chief Executive Officer, National Music Publishers’ Association Oral Testimony ..................................................................................................... 21 Prepared Statement ............................................................................................. 23 Lee Knife, Executive Director, Digital Media Association (DiMA) Oral Testimony ..................................................................................................... 34 Prepared Statement ............................................................................................. 37 Michael O’Neill, Chief Executive Officer, Broadcast Music, Inc. (BMI) Oral Testimony ..................................................................................................... 42 Prepared Statement ............................................................................................. 44 Will Hoyt, Executive Director, Television Music License Committee Oral Testimony ..................................................................................................... 61 Prepared Statement ............................................................................................. 63 Jim Griffin, Managing Director, OneHouse LLC Oral Testimony ..................................................................................................... 71 Prepared Statement ............................................................................................. 73 SUBMISSIONS FOR THE RECORD Material submitted for the Hearing Record .......................................................... 107 (III) MUSIC LICENSING UNDER TITLE 17 (PART I) TUESDAY, JUNE 10, 2014 HOUSE OF REPRESENTATIVES SUBCOMMITTEE ON COURTS, INTELLECTUAL PROPERTY, AND THE INTERNET COMMITTEE ON THE JUDICIARY Washington, DC. The Subcommittee met, pursuant to call, at 10 a.m., in room 2141, Rayburn House Office Building, the Honorable Howard Coble, (Chairman of the Subcommittee) presiding. Present: Representatives Coble, Goodlatte, Marino, Smith of Texas, Chabot, Issa, Poe, Chaffetz, Farenthold, Holding, Collins, Nadler, Conyers, Chu, Deutch, Bass, DelBene, Jeffries, Cicilline, Lofgren, Jackson Lee, and Cohen. Staff Present: (Majority) Joe Keeley, Subcommittee Chief Coun- sel; Olivia Lee, Clerk; (Minority) Heather Sawyer, Minority Coun- sel; and Jason Everett, Counsel. Mr. COBLE. Good morning, ladies and gentlemen. Welcome to the first of two hearings on music licensing issues. Probably everyone here knows that I am an avid bluegrass fan, and country music, as long as it is old-time country. I am dating myself chronologically when I say that. I know that many of you will welcome our new and veteran witnesses today. Although every industry goes through changes over the years, I think everyone would agree that the music business has seen more than its share of changes over the past decade or two. Many of us grew up in a world where we looked forward to buying our favorite albums at the local record store. Today’s youth may not even know what a record store looks like, since they prefer to download from iTunes or stream it on Pandora. However, times change, and I am glad to see that the music in- dustry continues to adapt to the preferences of its fans and making new music available. However, the current licensing system hasn’t changed. Many feel that our music licensing laws were designed for a world that existed decades ago and have become outdated. Music lovers can now access music virtually anywhere on an ever-chang- ing variety of devices. I may be old—I am old—but I am also old-fashioned in my view our copyright laws should provide access to music and still protect the interest of copyright holders. This is a traditional view of com- pulsory licenses, and I see no reason why we cannot restore this (1) 2 balance. If not, we know consumers will resort to pirate sites on the Internet for their respective music. Finally, there are some longstanding issues in the music busi- ness that I feel are important for Congress to address, how royalty rates are determined, who pays music royalties, and how older music works are treated under Federal copyright law. I have also been a friend of broadcasters for some time, and I hope that the broadcasters and the music industry can find a way to work together to resolve their common issues. In closing, I did want to thank our panel this morning for mak- ing time available for this hearing. While I would prefer to spend the next few hours learning about how to make bluegrass music more popular, I will instead spend the next few hours learning about how to make all music more popular. Again, I thank you, the panelists,
Recommended publications
  • Lyrics and the Law : the Constitution of Law in Music
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2006 Lyrics and the law : the constitution of law in music. Aaron R. S., Lorenz University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Lorenz, Aaron R. S.,, "Lyrics and the law : the constitution of law in music." (2006). Doctoral Dissertations 1896 - February 2014. 2399. https://scholarworks.umass.edu/dissertations_1/2399 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. LYRICS AND THE LAW: THE CONSTITUTION OF LAW IN MUSIC A Dissertation Presented by AARON R.S. LORENZ Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2006 Department of Political Science © Copyright by Aaron R.S. Lorenz 2006 All Rights Reserved LYRICS AND THE LAW: THE CONSTITUTION OF LAW IN MUSIC A Dissertation Presented by AARON R.S. LORENZ Approved as to style and content by: Sheldon Goldman, Member DEDICATION To Martin and Malcolm, Bob and Peter. ACKNOWLEDGMENTS This project has been a culmination of many years of guidance and assistance by friends, family, and colleagues. I owe great thanks to many academics in both the Political Science and Legal Studies fields. Graduate students in Political Science have helped me develop a deeper understanding of public law and made valuable comments on various parts of this work.
    [Show full text]
  • Music Law and Business: a Comprehensive Bibliography, 1982-1991 Gail I
    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 Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons 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 ................................
    [Show full text]
  • Lil Baby All of a Sudden Free Mp3 Download ALBUM: Lil Baby – Too Hard
    lil baby all of a sudden free mp3 download ALBUM: Lil Baby – Too Hard. ALBUM: Lil Baby – Too Hard zip. “Too Hard” is another 2017 Album by “Lil Baby”. Stream & Download “ALBUM: Lil Baby – Too Hard” “Mp3 Download”. Stream And “Listen to ALBUM: Lil Baby – Too Hard” “fakaza Mp3” 320kbps flexyjams cdq Fakaza download datafilehost torrent download Song Below. 01 Lil Baby – To the Top Mp3 Download 02 Lil Baby – Money Mp3 Download 03 Lil Baby – All of a Sudden (feat. Moneybagg Yo) Mp3 Download 04 Lil Baby – Money Forever (feat. Gunna) Mp3 Download 05 Lil Baby – Best of Me Mp3 Download 06 Lil Baby – Ride My Wave Mp3 Download 07 Lil Baby – Hurry Mp3 Download 08 Lil Baby – Sum More (feat. Lil Yachty) Mp3 Download 09 Lil Baby – Going For It Mp3 Download 10 Lil Baby – Slow Mo Mp3 Download 11 Lil Baby – Trap Star Mp3 Download 12 Lil Baby – Eat Or Starve (feat. Rylo) Mp3 Download 13 Lil Baby – Freestyle Mp3 Download 14 Lil Baby – Vision Clear (feat. Lavish the MDK) Mp3 Download 15 Lil Baby – Dive In Mp3 Download 16 Lil Baby – Stick On Me (feat. Rylo) Mp3 Download. All Of A Sudden. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at $1.49. All Of A Sudden. Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans.
    [Show full text]
  • MCA-500 Reissue Series
    MCA 500 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-500 Reissue Series: MCA 500 - Uncle Pen - Bill Monroe [1974] Reissue of Decca DL 7 5348. Jenny Lynn/Methodist Preacher/Goin' Up Caney/Dead March/Lee Weddin Tune/Poor White Folks//Candy Gal/Texas Gallop/Old Grey Mare Came Tearing Out Of The Wilderness/Heel And Toe Polka/Kiss Me Waltz MCA 501 - Sincerely - Kitty Wells [1974] Reissue of Decca DL 7 5350. Sincerely/All His Children/Bedtime Story/Reno Airport- Nashville Plane/A Bridge I Just Can't Burn/Love Is The Answer//My Hang Up Is You/Just For What I Am/It's Four In The Morning/Everybody's Reaching Out For Someone/J.J. Sneed MCA 502 - Bobby & Sonny - Osborne Brothers [1974] Reissue of Decca DL 7 5356. Today I Started Loving You Again/Ballad Of Forty Dollars/Stand Beside Me, Behind Me/Wash My Face In The Morning/Windy City/Eight More Miles To Louisville//Fireball Mail/Knoxville Girl/I Wonder Why You Said Goodbye/Arkansas/Love's Gonna Live Here MCA 503 - Love Me - Jeannie Pruett [1974] Reissue of Decca DL 7 5360. Love Me/Hold To My Unchanging Love/Call On Me/Lost Forever In Your Kiss/Darlin'/The Happiest Girl In The Whole U.S.A.//To Get To You/My Eyes Could Only See As Far As You/Stay On His Mind/I Forgot More Than You'll Ever Know (About Her)/Nothin' But The Love You Give Me MCA 504 - Where is the Love? - Lenny Dee [1974] Reissue of Decca DL 7 5366.
    [Show full text]
  • Entertainment and Sports Law University of Memphis Law School Career Services Office
    Entertainment and Sports Law University of Memphis Law School Career Services Office What is entertainment and sports law? Entertainment and sports law is civil law of a specific character that relates to the fields of entertainment and athletics. The practice involves contracts, labor law, corporate finance, intellectual property, and antitrust. Lawyers practicing in the field of entertainment and sports law specialize in knowing and understanding their clients’ industry and are able to advocate for their clients’ interests. In the major professional sports leagues of the National Football League (“NFL”), Major League Baseball (“MLB”), Na- tional Basketball Association (“NBA”), and National Hockey League (“NHL”), players’ associations act much like unions, regulating fees and salaries for sports professionals, coaches, and agents. For the lawyer specializing in entertainment law, intellectual property law takes center stage. Copyright law concerns the rights of creators of artistic works in the music, entertainment, publishing, and fine arts industries. Where do entertainment and Where do sports and entertainment lawyers do? sports lawyers work? Negotiating: Sports and entertainment lawyers negotiate contracts with spon- Private law firms: Some large firms sorships, television syndicators, and other representatives that interact with have departments specializing in the sports and entertainment industry. A lawyer working for a band might help to negotiate contracts with particular venues at a particular rate. entertainment and sports law, es- pecially in large cities where record Transactional work: Entertainment lawyers frequently contract for one-time labels house their headquarters or events that may never reoccur. Thus, entertainment and sports lawyers must in cities with professional sports be able to draft contracts that advance and protect their clients’ interests under a variety of circumstances.
    [Show full text]
  • Music Law 102
    Music Law 102 2019 Edition LawPracticeCLE Unlimited All Courses. All Formats. All Year. ABOUT US LawPracticeCLE is a national continuing legal education company designed to provide education on current, trending issues in the legal world to judges, attorneys, paralegals, and other interested business professionals. New to the playing eld, LawPracticeCLE is a major contender with its oerings of Live Webinars, On-Demand Videos, and In-per- son Seminars. LawPracticeCLE believes in quality education, exceptional customer service, long-lasting relationships, and networking beyond the classroom. We cater to the needs of three divisions within the legal realm: pre-law and law students, paralegals and other support sta, and attorneys. WHY WORK WITH US? At LawPracticeCLE, we partner with experienced attorneys and legal professionals from all over the country to bring hot topics and current content that are relevant in legal practice. We are always looking to welcome dynamic and accomplished lawyers to share their knowledge! As a LawPracticeCLE speaker, you receive a variety of benets. In addition to CLE teaching credit attorneys earn for presenting, our presenters also receive complimentary tuition on LawPracticeCLE’s entire library of webinars and self-study courses. LawPracticeCLE also aords expert professors unparalleled exposure on a national stage in addition to being featured in our Speakers catalog with your name, headshot, biography, and link back to your personal website. Many of our courses accrue thousands of views, giving our speakers the chance to network with attorneys across the country. We also oer a host of ways for our team of speakers to promote their programs, including highlight clips, emails, and much more! If you are interested in teaching for LawPracticeCLE, we want to hear from you! Please email our Directior of Operations at [email protected] with your information.
    [Show full text]
  • Karaoke Book
    10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO.
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]
  • Maroon-5-Songs-About-Jane-Книга.Pdf
    SONGSABOUTJANE ONEHARDER TO BREATHEZ TWOTHIS LOVEa THREESHIVER ts FOURSHE WILL BE LOVEDre FIVETANGLED z+ SIXTHE SUN so SEVENMUST GET OUT so EIGHTSUNDAY MORNING +z NINESEGRET aa TENTHROUGH WITH YOU oo ELEVENNOT COMING HOME s+ TWELVESWEETEST GOODBYE OZ : :ï:: '..'' ,' ':.:..,::.:;;'.\ '-.'.,.".1 ,.-.r,1-::-;''-,--é THIS PUBLICATIONIS NOT AUÍHORISEDFOFI SALE IN THE UNITED STATESOF AIíEFICA AND /OB CANADA WISEPUBLICATIONS PABTOF THE MUSICSALES GROUP LONDON/NEWYOFK/ PABIS/ SYONÊY/COPENHAGEN / BERLIN/ À4ADRID/TOKYO HARDERTO BREATHE WORDS& MUSICBY ADAM LEVINE, JAMES VALENTINE, JESSECARMICHAEL, MICKEY MADDEN & RYANDUSICK ^N (-nm )=uq t:.:]D tHul How dare you say that my be - ha - viour's un - ac - cep - ta - ble. Drums cri-ti-cal. I have the ten - dan - cy of 'cause get- ting ve-ry phy-si- cal. So watch your step if I do you'll need a mi - ra - cle. @ COPYRIGHÍ2OO2 BI\iIG N,USIC PUBLISHING LII\,IITED. ALL RIGHTSRESERVED. INTERNAÍIONAL COPYRIGHT SECURED. I I - - was You drain me dry and make me won - der why I'm ev - en here The dou ble vi sion I - ter nev- What you are do - ing is screw - ing things up in - side my head' Youshould know bet You l'' l)' +! - I want you gone. see - ing is fi - nal - lY clear. You want to stay but You know ve ry well - swear. -er lis - ten to a word I saY. Clutch-ing your pil - low and writh-ing in a na ked - Not fit to funk - in' tread the gÍoundthat I am walk ing on. 1 And when it gets cold- Hop - ing some- bo - dy some- daY would do you like I did l -* B t' 1r |m t**lll out - side- love,- 3 L-m, # you'll un - der - stand what I mear- when say- there's no -tt ^It B fn ( ím, (rí t:H tI:]E4F {:]:@46 l+#.t # F++H] ffl.Hl - we're gon - na give up.- And like a lit - tle girl cries- -* B tÍ ttl fu ffi in the face of a mon - ster that lives- in her dreams.- 'cause it's get - ting hard - 4 To Coda & L.m D5 C'5 Êd n.
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]
  • GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
    GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds.
    [Show full text]
  • INTERVIEWS from the 90'S
    INTERVIEWS FROM THE 90’s 1 INTERVIEWS FROM THE 90’S p4. THE SONG TALK INTERVIEW, 1991 p27. THE AGE, APRIL 3, 1992 (MELBOURNE, AUSTRALIA) p30. TIMES THEY ARE A CHANGIN'.... DYLAN SPEAKS, APRIL 7, 1994 p33. NEWSWEEK, MARCH 20, 1995 p36. EDNA GUNDERSEN INTERVIEW, USA TODAY, MAY 5, 1995 p40. SUN-SENTINEL TODAY, FORT LAUDERDALE, SEPT. 29, 1995 p45. NEW YORK TIMES, SEPT. 27, 1997 p52. USA TODAY, SEPT. 28, 1997 p57. DER SPIEGEL, OCT. 16, 1997 p66. GUITAR WORLD MAGAZINE, MARCH 1999 Source: http://www.interferenza.com/bcs/interv.htm 2 3 THE SONG TALK INTERVIEW, 1991 Bob Dylan: The Song Talk Interview. By: Paul Zollo Date: 1991 Transcribed from GBS #3 booklet "I've made shoes for everyone, even you, while I still go barefoot" from "I and I" By Bob Dylan Songwriting? What do I know about songwriting? Bob Dylan asked, and then broke into laughter. He was wearing blue jeans and a white tank-top T-shirt, and drinking coffee out of a glass. "It tastes better out of a glass," he said grinning. His blonde acoustic guitar was leaning on a couch near where we sat. Bob Dylan's guitar . His influence is so vast that everything that surrounds takes on enlarged significance: Bob Dylan's moccasins. Bob Dylan's coat . "And the ghost of 'lectricity howls in the bones of her face Where these visions of Johanna have now taken my place. The harmonicas play the skeleton keys and the rain And these visions of Johanna are now all that remain" from "Visions of Johanna" Pete Seeger said, "All songwriters are links in a chain," yet there are few artists in this evolutionary arc whose influence is as profound as that of Bob Dylan.
    [Show full text]