[Dixielandjazz] Re: Was Copyright, now; We all sound the same to them!

[Tom Wood]

Dear Dan, Richard & All,

Although with computers and pirate copying its now rapidly becoming changed
days, I never-the-less recommend the reading of a non-fiction book called
HIT MEN to all listers:
Hit Men  NON FICTION
By Fredric Dannen 1990 & 2000

ISBN 0 09 981310 6

Vintage edition 1991



A book about the entertainment industry and star making machinery revealing
the seamy side of the music business.

The decision-makers don't really seem to know or care much about the music
itself; they could be selling soap or ice to the Eskimos.  One pioneering
record company liked to buy up copyrights precisely because it was a way to
make money without putting up with artistic temperament and they never talk
back to you.  The most powerful executives in the music business are tone
deaf with the ability NOT to make a hit but to prevent one.  Dannen got the
inside story.


It has 44 pages of Debts & Sources at the back - its a wonder that the guy
got it published and stayed alive !!
Jukebox Mafiosi / Disc Jockey bribe-takers / Bloodletting Rock Warlords /
Payola / New York Bred Jews rig the airways / etc. etc.  Every comment is
backed by proof cross references (including court cases) against each
chapter.

Agent Tom (O Lord Give Me A Bastard With Talent) Wood :))

Jazz types/places/songs mentioned include:
Count Basie / Tony Bennett / Birdland / Miles Davis / Sammy Davis / Duke
Ellington / Mahalia Jackson / Lullaby of Birdland / Van Morrison / Rhythm
and Blues / Diana Ross / George Shearing /  Frank Sinatra / Nancy Sinatra /
Bessie Smith / Barbra Streisand / Tijuana Brass / Dionne Warwick / plus
nearly every rock star you can think of.

----- Original Message -----
From: "Dan Augustine" <ds.augustine at mail.utexas.edu>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Sent: Saturday, August 07, 2004 11:52 AM
Subject: [Dixielandjazz] Re: Was Copyright, now;We all sound the same to
them!


> All--
>      Interesting idea, what?  Do ASCAP/BMI etc. employ actual
> musician-types, who can read chords, understand melodies and their
> variations, etc.?
>      HOW does one tell, in point of fact, that one tune is
> sufficiently similar to another to invoke a copyright-infringement?
> I mean, i have a Ph.D. in music theory, and they didn't teach us how
> to do that.  How do judges do it?  Are judges musicians?
>      What are the precise technical similarities in both chord and
> melodic configurations that determine that one tune is a knock-off of
> another?
>      What are the penalties if a judgement is levied against you?
> Enforceable? Internationally?
>      Lots of questions....
>
>      Dan
>
> P. S. Unfortunately, we of the ilk who produce original tunes or
> items are buggered.  How do we get paid for our creativity in the
> world of  computer-copying?  Should we nationalize ASCAP and BMI?
> Should anyone who publishes a piece be granted a government-endowed
> subsidy? (Sounds good to me.)
> --------------------------------------------------------------------------
----
> >From: "Richard Stevens" <thejazzfactory at ozemail.com.au>
> >To: "Djml" <dixielandjazz at ml.islandnet.com>
> >Date: Sat, 7 Aug 2004 09:29:43 +1000
> >Subject: [Dixielandjazz] Was Copyright, now; We all sound the same to
them!
> >
> >Hi All,
> >I know a musician in Sydney who has released a number of CDs with all
songs
> >from "the Book" retitled. He reckons that NO ONE from a court or stooge
> >driving a black BMW will know that his version is not original. A run of
500
> >or so CDs is not worth the effort for anyone to try to prove otherwise!
> >
> >regards,
> >Richard Stevens
> >www.thejazzfactory.net