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Regency Reporter July 2020 – Page 3
VOL. 17, NO. 7, JULY 2020 - PUBLISHED MONTHLY FOR THE RESIDENTS OF REGENCY In 2015, Esther Schwartz (center) with, from left: Leslie Schoen, Susan Olan, Hollis Borak, and Judy Anil Shah with his 1988 Mercedes Benz 560SL Convertible. Feingold in the eighth and final Regency Actors and Players Show, “We’re in the Money?!” Photo submitted by Anil Shah Photo submitted by Esther Schwartz Meet the new kid on the block, 15- year-old Tibetan Terrier, Reggie Finkelstein. He’s a tough little guy who likes being king of the road. He knew something was up when he saw his human companions Barry and Karen packing stuff in cartons; Leading the Regency Car so being Reggie, he packed up his Club’s Memorial Day Car Pa- treats and toys he used to play with rade is Dennis Cataldo in his to keep as his memories. Reggie 1948 Studebaker pick-up.” loves lying on the grass watching A photo of the neighborhood taken by Steve Schwartz with his drone in June 2018. Photo by Steve Wandy people walk by. Photo by Bea Siegel Photo submitted by Esther Schwartz Renee Zukerberg in the Regency Actors and Herb Zukerberg, with his wife Renea, was the founder Players show Sentimental Journey. of what was originally called The Yiddish Club. Bob Pincu shot a hole in one May 31 on Hole #7. Photo by Sandi Shumsky Photo by Sandi Shumsky Photo by Nat Willner, submitted by Jason Pulsinelli JULY 2020 – PAGE 2 REGENCY REPORTER A Message from the Regency Emailer A Note from the Board of Trustees By Ron Post for me to deal with. -
Limitations on Claims of Ownership and Claims for Royalties Donald E
Hastings Communications and Entertainment Law Journal Volume 20 | Number 1 Article 1 1-1-1997 Limitations on Claims of Ownership and Claims for Royalties Donald E. Biederman 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 Donald E. Biederman, Limitations on Claims of Ownership and Claims for Royalties, 20 Hastings Comm. & Ent. L.J. 1 (1997). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol20/iss1/1 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]. Limitations on Claims of Ownership and Claims for Royalties by DONALD E. BIEDERMAN* I. Limitations on Claims of Ownership ...................................... II. Limitations on Claims for Royalties ....................................... A . Contractual Claim s............................................................. B. Non-Contractual Claims .................................................... III. C onclusion ................................................................................. * Executive Vice President, Business Affairs/General Counsel, Warner/Chappell -
The Man Who Invented Jazz? C O on the Surface, It May Seem a Stretch; on Closer Inspection, It’S an Entirely Appropriate Honor
EARLY NFL B B N C E JELLY ROLL MORTON IN THE ROCK AND ROLL HALL OF FAME? The man who invented jazz? C o On the surface, it may seem a stretch; on closer inspection, it’s an entirely appropriate honor. A music that has always borrowed liberally from other streams in its ongoing evolu tion would and should embrace as one of its own an artist imbued with the sensibility that bespeaks great art in general, rock & roll in specific: a zeal for adventure, disdain of the status quo, an innate drive to push the boundaries of convention until the artist breaks on through to the other side with something so new and brazen it’s virtually indefinable -I but talismanic to all the daring souls courageous enough to follow the same path. C o Remember that in the late 1920s, when Louis Armstrong was cutting his monumental sessions with his Hot Five and Hot Seven ensembles, Morton was charging ahead with his equally formidable Red Hot Peppers recordings. Ceding nothing to Satchmo, Morton made sure everyone knew of his achievements and even wrote a song about himself, called “Mr. Jelly Lord,” that pretty much said it all. He was styling at every turn, surrounding himself with Leader of the Band: beautiful women, dazzling the commonfolk with ° conducts his Red Hot his expensive, tailored suits and sporting a million- Peppers, circa 1928 dollar smile that revealed a diamond embedded in one tooth. C o But attitude will get you only so far. Jelly Roll backed up his braggadocio with a body of work that reveals him to be an extraordinary, even visionary, composer, bandleader, arranger and musician. -
Wavelength Midlo Center for New Orleans Studies
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 8-1985 Wavelength (August 1985) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (August 1985) 58 https://scholarworks.uno.edu/wavelength/73 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. • • NEW ORLEANS MUSIC MAGAZINE THE STORY OF A REBEL AND HIS BIKE. ~ ( r. r. 4 I I I l PEE·WEE HERMAN Pee-wee~ 116 AD~etnlltle An ASPEN FILM SOCIETY I ROBERT SHAPIRO Production PEE-WEE HERMAN • PEE-WEE'S BIG ADVENTURE arstarring ELIZABETH DAILY • MARK HOLlON • DIANE SALINGER· JUDD OMEN music composed by DANNY ELFMAN executive producer WILLIAM E. McEUEN written by PHIL HARTMAN & PAUL REUBENS & MICHAEL VARHOL produced by ROBERT SHAPIRO and RICHARD GILBERT ABRAMSON directed by TIM BURTON [l]lr-="DOLBV~STERE0==""11® FROM WARNER BROS. ~ A WARNER COMMUNICATIONS COM PANY IPGIP'MEifTALGtBIUSYRSTEI-.1 lllloiEL£CTIDT!tPTIIU w C) ...sw ..... -..t... AIIItloht•"-'-~~'""-'""YNOT•turr-.E-~® The Adventure Begins Friday August 9th at a Theatre Near You. • • • r< '/JIV{)I(a JAU '' #/ . I .NA-Y k/OT .BE 1?.6C.Of?[J (({JJ, . THe 011/0~(£ J'ltL£ ISSUE NO. 58 • AUGUST 1985 f>U1111H<£ f'HE CR.t0/1 FOR. Of COURSE. t!JSPIR. ttJb f-IlS VERY R:W oF HIS' wl'm not sure. -
2019 AKC Obedience Classic Eligibility List
2019 AKC Obedience Classic Eligibility List Eligibility Regnum Prefix Titles Dog Name Suffix Titles Call Name Breed Owner(s) Novice TS24526801 Ghillie Dhu Connolly CD BN RI THDN CGCA CGCU TKN Affenpinscher Ken Stowell/Alison Fackelman Novice HP43185101 GCHS DC Bakura Suni Formula One CD RA MC LCX2 BCAT CGC TKN Afghan Hound Lynda Hicks/Toni D King/James Hicks Novice HP45411601 MACH Popovs Purrfection At Cayblu CD RE SC MXG MJC RATO Suzette Afghan Hound Cathy Kirchmeyer Novice HP52788106 Zoso's Sweet Sensation CD BN BCAT CGC Afghan Hound Kate E Maynard Novice RN27679104 Coldstream Lavender And Lace CD BN RN Airedale Terrier Darvel Kich Novice RN28189802 Kynas Glitzy Glam China Girl CD BN RI CGC Airedale Terrier Joyce Contofalsky/Craig Contofalsky Novice RN22466805 CH Monterra Big Sky Traveler CD PCD BN RI Stanley Airedale Terrier Christine Hyde Novice RN25552603 Mulberry Days For Sparkling Zoom CD RN Airedale Terrier Susan J Basham/Edward L Basham Novice RN25552608 Mulberry's Twilight Breeze Way CD Airedale Terrier Susan J Basham/Edward L Basham Novice PAL262089 Hachiko Of Sparta TN CD BN CA BCAT CGC Akita Armelle Le Guelte Novice WS36556101 CH Snokist I'M No Knock Off At Awanuna CD Alaskan Malamute Beverly Pfeiffer/Mr. Richard B Pfeiffer Novice WS51419804 CH Vykon's Justified CD BN RE CGC TKN Alaskan Malamute Vicky Jones Novice MA40540901 Abbey Rd's Piper Vanwilliams CD ACT2 CGC TKP PIPER All American Dog BETH WILLIAMS/ERIC VAN HOUTEN Novice MA66217301 Addison River Rose CD RN CGC TKN 841875051 All American Dog Bryana Anthony Novice MA34347501 -
January 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 1-1984 Wavelength (January 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (January 1984) 39 https://scholarworks.uno.edu/wavelength/39 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. ORLEANS '84 World's Fair: 'The Most Exciting Plate In The World' Trash Movies As Art Movies Theatre Art& Music Rolling Listings With Shirley and Lee Thoroughly Modem Marsalis BULK RATE U.S. POSTAGE PAID ALEXANDRIA, LA PERMIT N0.88 utauelenglh ISSUE N0.39 • JANUARY 1984 ISSN 0741·2460 ''I 'm not sure, but I'm almost positive, that all music came from New Orleans. '' -Ernie K-Doe, 1979 Cover photo by Michael P. Smith t table of contents What a Year!!! Features -------• World's Fair by Bunny Matthews ............ 14 You're gonna need Wavelength in 1984 Shirley Goodman by Almost Slim . ........... 16 Naughty Marietta New Orleans knows how to party, but this by Don Lee Keith . .. .. .... .. 19 year, we're really going to show our Ellis Marsalis With all the thousands of events to by Yorke Corbin . 21 from, you're going to need us more Spirit World ever, so you won't miss one minute of the by rico .. .... ...... .. ... ... 23 fun. Departments----- January News .. ...... ... ......... 4 AND IF YOU SUBSCRIBE NOW, Golden Moments by Almost Slim . -
14.11.2008 KÜNSTLER SHIRLEY & LEE TITEL Rock INFORMATIONEN
LIEFERBAR: AB 20.10.2008 VERÖFFENTLICHUNG: 14.11.2008 KÜNSTLER SHIRLEY & LEE TITEL Rock LABEL Bear Family Records KATALOG # BCD 15785 PREIS-CODE AR EAN-CODE 4000127 157850 ISBN-CODE 978-3-89916-400-8 FORMAT CD Digipac mit 44-seitigem Booklet GENRE Rock'n'Roll ANZAHL TITEL 31 SPIELDAUER 73:06 • Let The Good Times Roll gilt als Meilenstein des Rock 'n' Roll und inspirierte Film- und Buchtitel sowie zwei Dutzend Versionen von Soul bis Merseybeat und Reggae. • Unvergessliche Gesangsduette aus dem Goldenen Zeitalter des R&B aus New Orleans. 31 Titel von den 'Sweethearts Of The Blues', eine einzigartige Melange aus Rhythm'n'Blues, Rock'n'Roll und den Rhythmen des Karnevals. • Auf anderen Zusammenstellungen fehlen oftmals I Feel Good oder Feel So Good, weil man irrtümlich meint, es handle sich um denselben Song. Weit gefehlt! 'Rock' enthält selbstverständlich auch diese beiden Top 10 R&B Hits. • Shirleys Stimme – oftmals 'messerscharf' genannt, eine Mischung aus Sprachwitz und unverblümter Sexualität, erregt und ist zugleich von erschreckender Kälte. • Mit den großartigsten Sessionmusikern aus New Orleans wie Schlagzeuger Earl Palmer und Tenorsaxophonist Lee Allen. INFORMATIONEN Ihre Plattenfirma Aladdin Records vermarktete sie als 'Sweethearts Of The Blues', nachdem ihr Debüt I'm Gone ein Volltreffer geworden war – und Shirley Goodman und Leonard Lee waren gewiß eines der erfolgreichsten Mann-&-Frau- Duos der 50s-R&B-Szene! Das junge Paar spielte einige der heißesten Rock 'n' Roll-Nummern ein, die aus New Orleans kamen – darunter Feel So Good (1955), Let The Good Times Roll und I Feel Good (beide 1956) mit der vielgerühmten Hausband aus Cosimo Matassas Studio, zu der u.a. -
Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 18 | Number 1 Article 3 1-1-1995 Everything That Glitters Is Not Gold: Songwriter- Music Publisher Agreements and Disagreements Don E. Tomlinson 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 Don E. Tomlinson, Everything That Glitters Is Not Gold: Songwriter-Music Publisher Agreements and Disagreements, 18 Hastings Comm. & Ent. L.J. 85 (1995). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol18/iss1/3 This Article 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]. Everything That Glitters Is Not Gold:* Songwriter-Music Publisher Agreements and Disagreements by DON E. TOMLINSON** Table of Contents I. Introduction ............................................ 87 A. The Fundamental Songwriting-Music Publishing Quid Pro Quo ...................................... 88 1. Advances Against Royalties .................... 88 2. Demonstration Recordings ..................... 89 3. Exploitation .................................... 90 4. "H it" Songs ..................................... 90 B. The -
Costume Institute Records, 1937-2008
Costume Institute Records, 1937-2008 Finding aid prepared by Arielle Dorlester, Celia Hartmann, and Julie Le Processing of this collection was funded by a generous grant from the Leon Levy Foundation This finding aid was generated using Archivists' Toolkit on August 02, 2017 The Metropolitan Museum of Art Archives 1000 Fifth Avenue New York, NY, 10028-0198 212-570-3937 [email protected] Costume Institute Records, 1937-2008 Table of Contents Summary Information .......................................................................................................3 Historical note..................................................................................................................... 4 Scope and Contents note.....................................................................................................6 Administrative Information .............................................................................................. 6 Related Materials .............................................................................................................. 7 Controlled Access Headings............................................................................................... 7 Collection Inventory............................................................................................................9 Series I. Collection Management..................................................................................9 Series II. Curators' and Administrators' Files............................................................ -
A Later Version of This Essay Appeared As 'Chris Blackwell and 'My Boy
(A later version of this essay appeared as ‘Chris Blackwell and ‘My Boy Lollipop’: Ska, Race and British Popular Music’ in Journal of Popular Music Studies, vol 22, no 4, 2010, pp. 436-465.) Chris Blackwell and “My Boy Lollipop”: Ska, Race and British Popular Music Ska evolved in Jamaica around 1960. I shall talk a little more about its development later. In 1964 there were three hits in the British top ten that utilized a ska beat. On March 14 Millie reached number 2 with “My Boy Lollipop.” A week later, the Migil 5’s ska version of “Mockin’ Bird Hill” reached number 10, its highest position. In December, Georgie Fame and the Blue Flames got to number 1 with the jazz track, “Yeh Yeh,” to which they gave a soft ska influence. Discussions of ska, and reggae, have tended to focus on the music’s Jamaican origins and have emphasized its qualities as black music. In this article my interest is in the relationship between ska and British popular music of the early 1960s. How did ska enter white Britons’ musical consciousness such that, by the late 1960s there were numerous ska hits and, by the late 1970s, there was a ska revival with groups such as Madness and the Two Tone groups including the Specials and Selector having chart hits? To this end I shall concentrate on the most popular of the three 1964 ska hits, Millie’s “My Boy Lollipop.” This song was first recorded as a rhythm and blues song in New York by Barbie Gaye about whom little is known other than that she was not black. -
1District Judge of the Western District of Louisiana, Sitting by Designation
United States Court of Appeals, Fifth Circuit. No. 91-3775. Shirley GOODMAN, Plaintiff-Appellee, v. Audrey LEE and Nikki N. Lee, Defendants-Appellants. April 20, 1993. Appeal from the United States District Court for the Eastern District of Louisiana. Before WISDOM and DUHÉ, Circuit Judges, and DOHERTY,1 District Judge. PER CURIAM: Shirley Goodman, sued Audrey Lee and Nikki Lee, widow and surviving child of Leonard Lee, who died in 1976 ("Lees"), for authorship and copyright and ownership rights to the 1956 Rock and Roll hit, "Let the Good Times Roll," recorded by Leonard Lee and Shirley Goodman when they performed professionally as the duo of "Shirley and Lee." This case has had a long and varied procedural history leading to and through the trial on January 14 and 15, 1988 which this Court need not fully recite at this time. However, after a jury found in favor of Plaintiff, Defendants filed a series of post trial motions, ostensibly pursuant to Federal Rules of Civil Procedure 50, 52, 59 and 60(b)(3). On February 19, 1988, the district court denied Defendants-Appellants' motion for a directed verdict. Subsequently, on February 13, 1990 the district court denied Defendants-Appellants' motion for judgment notwithstanding the verdict and in the alternative, motion for a new trial. Plaintiff-Appellee filed a notice of appeal of that order on March 14, 1990. The Fifth Circuit dismissed the appeal as the order appealed was not final on May 4, 1990, as the district court had not yet ruled on the Magistrate's recommendations pursuant to Defendants-Appellants' motion entitled as Rule 60(b)(3). -
Possessed by the Musicians He Claimed to Have Studied
Acknowledgments I would like to begin by thanking my thesis supervisors, who played a major role in this project and who I ultimately consider to have been my collaborators. The argument and structure of this writing grew out of my weekly meetings with Jane Mathieu. Often times, when I had not yet found the language I was looking for, Jane had a clever way of guiding me toward better words and perspectives by asking me difficult, open ended questions. Meanwhile, I would never have landed on my topic were it not for the courses on New Orleans music that I took with Matt Sakakeeny. It was Matt who challenged my conceptions of the city, and his generous feedback on my drafts helped strengthen the writing on many fronts. I would also like to thank the third member of my committee, Dan Sharp, for his help in the final stages. I am very lucky to have taken courses with all three of these people. Each of them has impacted the way that I listen to and interpret music. This thesis grew out of some challenging conversations that occurred in seminars with my classmates. I would like to thank two of my cohort members in particular: April Goltz, whose commitment to facing uncomfortable truths inspires me; and Hannah Isadora Forrester, who came to the see the Revolution sans Prince with me, and taught me a great deal about life. I would like to thank my family for their love and encouragement: Tom and Riiko, Owen and Willem, Jo and Don, Harriet and Frances, David and Sue, Peter, my Grampy, my Aunt Jo, and my new family—Emma, Paula and B.