p.157
advertising 25–6, 113–24, 135–7; see also trailers/trailer use
all digital media 100
93
All Music Guide 93
all new media 100
American Federation of Musicians 73
annual license agreements 78–82
approval parties 149
approval rights 15
art-house theatrical exhibition 98
ASCAP (American Society of Composers, Authors and Publishers) 84, 93
Bacharach, Burt 43
Bandcamp 83
basic cable TV 99
Beal, Jeff 68
Beatport 83
Bein, Chuck 114, 116, 119, 120
Berne Convention for the Protection of Literary and Artistic Works 9–10
Blu-Ray 99
BMI (Broadcast Music Incorporated) 84, 93
brand personality, identity and recognition 111–24
Bratt, Peter 55
broad rights 105
Brown, James 55
Bruckheimer, Jerry 41
‘bump’/‘bumper’ music 76
bundling 76
Butch Cassidy and the Sundance Kid 43
cable TV rights 105
Calamar, Gary 53
Cash, Johnny 2
catalog reps 140
cease-and-desist letters 20–1, 29, 118
p.158
clearance: information needed for 96–101; overview of 87–92; overview of music rights 12–14; research tools for 92–4; role of 1–2; sample request for 89–92; see also cue sheets; music supervisors
collecting on the back-end 67–8
Columbia Special Products 35
composers 62–73, 77, 116–18, 149
copyright: duration of 9–10; fair use and 22–7, 135, 149; history of 9; infringement of 19–22, 30–1, 117–18; Internet and 29–31; overview of law on 7–8; overview of music 12–14; protections of 10–12; public domain and 27–9; publishing 14; purpose of 8–9; registration 7, 19–20; splits and 16–19; symbols for 22
Copyright Act (1976) 9
copyright owners/holders: change in 14–15; finding 14–16; identifying 89; multiple 87–8; two sides and 13–14, 33
corporate piece/corporate use 98, 105, 121–2
Corporation of Public Broadcasting (CPB) 108–9
Creative Commons 83
cue sheets 26–7, 76, 94–101, 109
David, Hal 43
deal memo documents 69
Diamond, Neil 2
digital download 100
digital marketing and advertising 135–7
digital media 100, 101, 105, 119–20, 125–38; see also streaming
Digital Millennium Copyright Act (DMCA) 30
digital search engine platforms 85
digital technology, impact of 3
documentaries: challenges and 58–9; composers and 63, 69; denials and 1–2, 51, 96; digital distribution and 130; fair use and 23–4, 25, 149; fees and 129; labels’ catalogs and 149; MFN and 107; options and 101; pricing and 55; step deals and 105
documentation, importance of 89
Dolores 55
downloads: annual license agreements and 78, 80; cue sheets and 76; exclusion of 99, 100, 105; mechanical license/fee and 11, 33–4; metadata and 142; music libraries and 77; options and 102; rights for 100, 105, 128, 129; soundtracks and 55; step deals and 132; videograms and 100; VOD services and 130
DVD 99
educational exhibition 98
p.159
film festival exhibition/rights 98, 104
film request 144
free on demand (FOD) 129
free TV 99
Fukuyama, Bob 35, 37, 39–40, 41
Garfield, Harry 39
Goldberg, Ron 77
Guild of Music Supervisors 49
93
home video 99
94
imprints 44
in-context trailer use 100
independent labels 46
international copyright protection 9–10
Internet downloads see downloads
Internet Movie Database 94
Internet streaming see digital media; streaming
iTunes 142
James Bond films 42
Jóhannsson, Jóhann 63–6, 67, 69–70
Johnson, Lyndon 108
Kapp, David 37
K-Tel 37
lawyers 149
Led Zeppelin 53
Lessig, Lawrence 83
Leviton, Mark 35
licenses: annual 78–82; blanket 11, 76, 77–8; digital gaming 137–8; mechanical 11, 33–4; public performance 11; purpose of 8; synchronization 37–40; synchronization l 12; types of 11–12
licensors, point of view of 4
limited theatrical exhibition 98
Mann, Michael 39
Matson, Andrew 112
MCA Special Markets 41
media spread 4
MFN (most favored nations) 91, 106–8
Miami Vice 39
Mossap, David 51
Motion Picture Information Service (MPIS) 29
motion picture theatrical exhibition 98
MP3 files 142
music: finding 61–86; overview of copyright for 12–14; role of 1; see also composers
p.160
music composition agreement 70–3
musicians, union versus non-union 73, 117
music rights clearance 8
music supervisors 47–60, 83, 139–40
music videos 41
National Public Radio (NPR) 109
negotiators, role of 2
new media 100
non-exclusivity 114
non-theatrical exhibition 98
opening and closing credits 107
opinion letters 23
out-of-context trailer use 101
pay/pay-per-view 99
29, 94
penalty fees 118
performance royalties 84
performing rights organizations 67–8, 84
poor man’s copyright 19
Porter, Todd 61–2, 113, 119, 120, 123
price/pricing 3–4, 103–5; see also MFN (most favored nations)
Prisoners 64
production music libraries 73–82
promos 25
Public Broadcasting Act 108
Public Broadcasting Service (PBS) 108–9
public performance license 11
publishing copyright 14
Radha Krishna Temple 59
“Raindrops Keep Fallin’ on My Head” 43
re-titling 145
rights, process of securing 87–109
Rowland, Tom 41
Savada, Elias 29
SESAC (Society of European Stage Authors and Composers) 84, 93
Sicario 64
Simpson, Don 41
social media 135
p.161
song pluggers 85
song reps 140
songwriting credit 14
Sony Music 44
streaming 67–8, 100, 105, 119–20, 126, 128–30; see also digital media
subscription TV 99
synchronization license 12, 37–40
television: all media for 98–9; cable 99, 105; free 99; public 108–9; subscription 99
theatrical rights 98, 101, 105
Thomas, B.J. 43
trailer spec 143
trailers/trailer use 25, 100–1; see also advertising
True Blood 53
Universal 41
U.S. Copyright Office 7
use 97
user-generated content 133
video-on-demand (VOD) 99, 119–20, 129, 130–1
videos, music 41
Warner Music Group 44
Warner Special Products (WSP) 35, 37–41
WAV files 142
wireless/mobile rights 128
works-for-hire 67
works of authorship 9