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1 | #!/usr/bin/env pinpoint |
2 | ||
3 | [font=Sans 100px] | |
4 | [R&RHallofFametrans.jpg] | |
5 | [text-color=black] | |
6 | [text-align=center] | |
7 | [shading-opacity=0] | |
8 | [fill] | |
9 | ||
10 | -- [text-color=white][text-align=left][bottom-left][R&RHallofFame.jpg] | |
11 | ||
12 | Rock and roll bands | |
13 | and free software projects: | |
14 | A comparative analysis | |
15 | ||
16 | ||
17 | <span size="x-small">Pamela Chestek, Chestek Legal</span> | |
18 | ||
19 | -- | |
20 | ||
21 | Introduction | |
22 | ||
23 | -- | |
24 | ||
25 | <i>Videos!</i> | |
26 | ||
27 | #I am showing videos! | |
28 | ||
29 | -- | |
30 | ||
31 | the purpose and character of the use | |
32 | ||
33 | ||
34 | ||
35 | -- | |
36 | ||
37 | ✓ the purpose and character of the use | |
38 | ||
39 | <b>It's educational!</b> | |
40 | -- | |
41 | ||
42 | the nature of the copyrighted work | |
43 | ||
44 | ||
45 | ||
46 | -- | |
47 | ||
48 | X the nature of the copyrighted work | |
49 | ||
50 | <b>(Oops)</b> | |
51 | ||
52 | -- | |
53 | ||
54 | the amount and substantiality | |
55 | of the portion taken | |
56 | ||
57 | ||
58 | ||
59 | -- | |
60 | ||
61 | ? the amount and substantiality | |
62 | of the portion taken | |
63 | ||
64 | <b>Not so much</b> | |
65 | ||
66 | -- | |
67 | ||
68 | the effect of the use upon | |
69 | the potential market | |
70 | ||
71 | ||
72 | ||
73 | -- | |
74 | ||
75 | How many are attending | |
76 | the session just so you | |
77 | can watch music videos? | |
78 | ||
79 | #You have to leave. | |
80 | ||
81 | ||
82 | --[transition=page-curl] | |
83 | ||
84 | How many of you came for | |
85 | the big hair and Vincent Price | |
86 | with an 80’s glam band? | |
87 | ||
88 | --[Ratt.mp4] | |
89 | ||
90 | #play 1:11 | |
91 | ||
92 | -- | |
93 | ||
94 | ✓the effect of the use upon | |
95 | the potential market | |
96 | ||
97 | <b>None I hope.</b> | |
98 | ||
99 | -- | |
100 | ||
101 | Why bands? | |
102 | ||
103 | #A lot of similarities | |
104 | ||
105 | #Can come together casually | |
106 | #but also can be formally operated businesses. | |
107 | ||
108 | #There are individual contributors but there is a | |
109 | #collective identity at the same time The name is | |
110 | #the crux of the question; it represents both the | |
111 | #collective and the product, the musical | |
112 | #performers and the records; in software it is | |
113 | #the members of the group and the software name | |
114 | ||
115 | -- | |
116 | ||
117 | Who owns the "project"? | |
118 | ||
119 | -- | |
120 | ||
121 | It might be the employer | |
122 | ||
123 | #Who could forget the spectacular hit by the | |
124 | #Righteous Brothers? | |
125 | ||
126 | -- [RighteousBros.mp4] | |
127 | ||
128 | #play 50 secs | |
129 | ||
130 | #I apologize for the quality of the next, but it's | |
131 | #worth it. I love Dick Clark's introduction of the | |
132 | #upcoming song, where he is remarkably tactful | |
133 | #about it, in an "it's ... interesting" kind of | |
134 | #way | |
135 | ||
136 | -- [VitoUnchainedMelody.mp4][duration=165] | |
137 | ||
138 | #play 2:45 | |
139 | ||
140 | #"You walk about nine miles" | |
141 | ||
142 | #Vito and the Salutations was a band that left one | |
143 | #manager and started with another manager. The | |
144 | #original manager was able to hang on to some of | |
145 | #the original members and put together a new | |
146 | #arrangement of "Vito and the Salutations," so | |
147 | #there were competing groups called "Vito and the | |
148 | #Salutations." | |
149 | ||
150 | #22 people performed with the group and “Vito” as | |
151 | #the lead wasn’t always the original member named | |
152 | #Vito, it was 10 different people. | |
153 | ||
154 | #Rick, as manager and promoter of "Vito and the | |
155 | #Salutations," conceived of the group's | |
156 | #performance as an "act" in which each member | |
157 | #played a particular role. As individuals left | |
158 | #the group, others were found to replace them and | |
159 | #to assume their respective parts. | |
160 | ||
161 | ||
162 | -- [Vito5.jpg][fit][transition=swing] | |
163 | ||
164 | -- [Vito4.jpg][fit][transition=sheet] | |
165 | ||
166 | #But who could forget the most famous act that | |
167 | #didn't start out as a band... | |
168 | ||
169 | -- [Monkees.mp4] | |
170 | ||
171 | #play 52 secs | |
172 | ||
173 | #Monkees - no lawsuit, but they were a band put | |
174 | #together for a TV show. But they have toured in | |
175 | #the past few years | |
176 | ||
177 | -- | |
178 | ||
179 | Or, it might not be, if the | |
180 | association is with the group | |
181 | ||
182 | -- [NewEdition.webm] | |
183 | ||
184 | #play 1:26 | |
185 | ||
186 | #Recognize the place? | |
187 | ||
188 | #Four of the five plaintiffs performed locally as | |
189 | #“New Edition.” They performed in a talent show | |
190 | #organized by Maurice Starr. As far back as 1972 | |
191 | #Starr had an idea for “80’s black bubblegum | |
192 | #music,” “essentially the Jackson Five updated by | |
193 | #the addition of modern elements like synthesizers | |
194 | #(electronic instrumentation) and rap (speaking | |
195 | #parts).” Starr thought the boys were short on | |
196 | #talent but used them to demo “Candy Girl.” Starr | |
197 | #ultimately entered into employment contracts with | |
198 | #the singers. The contract said that Starr could | |
199 | #use whatever artists he wanted. The band was | |
200 | #called “New Edition,” although Starr wanted a | |
201 | #different name. All the employment contracts | |
202 | #said that Starr owned the “New Editions” | |
203 | #name. Originally they lip-synced their | |
204 | #performance and Starr played backup, then they | |
205 | #started to tour without Starr. The band got more | |
206 | #successful, touring internationally. The five | |
207 | #band members were minors and so were allowed to | |
208 | #disaffirm the contract. | |
209 | ||
210 | #"They have appeared on television shows, at charity | |
211 | #events, and -- the crowning sign of success -- | |
212 | #they have even been featured in a COKE commercial." | |
213 | ||
214 | #The court held that the band owned it resulting | |
215 | #from their use of it when working for Starr. | |
216 | ||
217 | -- | |
218 | ||
219 | Bands, like free software, have | |
220 | the concept of the collective | |
221 | ||
222 | -- [Kingsmen.mp4] | |
223 | ||
224 | #play 56 secs | |
225 | ||
226 | #Kingsmen, unincorporated association, sued | |
227 | #former member Ely who performed on an album as | |
228 | #the Kingsmen. But he couldn’t use it without the | |
229 | #rest of the group | |
230 | ||
231 | #"Moreover, having listened to the recordings by | |
232 | #The Kingsmen submitted as exhibits to the Court, | |
233 | #including the #original recording of Louie, | |
234 | #Kingsmen's music. Although the listener can | |
235 | #discern the lead singer from the background | |
236 | #vocals and music on a number of Kingsmen songs, | |
237 | #the group's "sound" is clearly a collective | |
238 | #one. No one member of the group can be singled | |
239 | #out as representing the essence of The | |
240 | #Kingsmen's performing style." | |
241 | ||
242 | --[transition=slide-up] | |
243 | ||
244 | The well-meaning custodian | |
245 | ||
246 | #The Intruders | |
247 | ||
248 | --[Intruders.mp4] | |
249 | ||
250 | #play 1:04 | |
251 | ||
252 | #Between 1966 and 1976 the Original Group released | |
253 | #approximately twenty-five recordings that made | |
254 | #the Billboard Charts. The Original Group | |
255 | #disbanded in 1976, and no group performed under | |
256 | #the name "The Intruders" from that time until the | |
257 | #early 1980's. In 1983 the former members assigned | |
258 | #all rights in the name "The Intruders" to one | |
259 | #member Eugene Daughtry and said they wouldn't | |
260 | #subsequently seek to participate in any group | |
261 | #called "The Intruders" as a result of their | |
262 | #membership in the Original Group. Daughtry | |
263 | #performed with defendant Montgomery. | |
264 | ||
265 | #In July 7, 1994, when he was ill, Daughtry | |
266 | #transferred an undivided right, title and | |
267 | #interest in the name "The Intruders" to his | |
268 | #brother Fred and Original Group member Phillip | |
269 | #Terry as joint tenants, with a right of | |
270 | #survivorship. Daughtry passed away and his | |
271 | #brother Fred told #Montgomery to stop performing | |
272 | #and started his own "Intruders" band with | |
273 | ##plaintiff Mears. | |
274 | ||
275 | #Fred Daugthry died and purely as a matter of | |
276 | #estate law Phillip Terry was the owner of the | |
277 | #trademark but he hadn't been performing with or | |
278 | #managing either group. He had been named because | |
279 | #Eugene Daughtry, the original brother, trusted | |
280 | #him. Phillip #Terry said that Eugene had given | |
281 | #him and Fred so that the two of them could | |
282 | #"preserve" the name "the Intruders", and oversee | |
283 | #the makeup of any band #bearing the Intruders | |
284 | #name after Eugene's death. Phillip Terry appears | |
285 | #to have switched sides | |
286 | ||
287 | -- | |
288 | ||
289 | Bands fork! And they fight ... | |
290 | ||
291 | --[Drifters.mp4][transition=slide-left] | |
292 | ||
293 | #play 2:46 | |
294 | ||
295 | #The band was formed in 1953 and the first | |
296 | #lawsuit filed in 1958, 60 years ago and it might | |
297 | #be over? (2017 appeals court decision on | |
298 | #registration of trademark). Who are the | |
299 | #real Drifters? | |
300 | ||
301 | -- | |
302 | ||
303 | The Drifters | |
304 | Treadwell’s Drifters | |
305 | The Original Drifters | |
306 | Treadwell’s Original Drifters | |
307 | Bill Pinkey’s Original Drifters | |
308 | ||
309 | #This is not limited to the Drifters. | |
310 | ||
311 | --[WaPoclip.png][fit] | |
312 | ||
313 | #The reference to the inaguration is to President | |
314 | #Clinton's inaguration | |
315 | ||
316 | #Larry Marshak bought shares of companies that | |
317 | #the bands had set up and then later claimed that | |
318 | #he owned the trademarks and therefore the | |
319 | #bands. Beware the troll. | |
320 | ||
321 | -- | |
322 | ||
323 | But sometimes you can | |
324 | get away with it ... | |
325 | ||
326 | -- [BlackFlagcomposite.jpg] | |
327 | ||
328 | ||
329 | #A group of former band members reformed 20 years | |
330 | #later as a “tribute” band; another of the former | |
331 | #members not included formed his own band. The | |
332 | #court found the use of "Flag" and the logo | |
333 | #dissimilar enough to the original band that they | |
334 | #could continue to perform as "Flag" | |
335 | ||
336 | ||
337 | -- | |
338 | And you can’t sit on your rights | |
339 | ||
340 | ##Fulanito - 2 photos | |
341 | ||
342 | --[FulanitoComposite.jpg][fit] | |
343 | ||
344 | -- | |
345 | ||
346 | How to refer to the former project | |
347 | ||
348 | ||
349 | --[Steppenwolf.mp4] | |
350 | ||
351 | #play 1:35 | |
352 | #it just seemed to be time for a musical interlude | |
353 | ||
354 | -- | |
355 | ||
356 | "Former Original Member of Steppenwolf," | |
357 | "Original Founding Member of Steppenwolf" | |
358 | "Formerly of Steppenwolf" | |
359 | ||
360 | <span foreground='red' size='xx-large'>OK!</span> | |
361 | ||
362 | ##Steppenwolf ok, Commodores not ok | |
363 | ||
364 | --[Commodoresname.png][fit] | |
365 | ||
366 | --[Commodores.mp4] | |
367 | ||
368 | #play 36 secs | |
369 | ||
370 | #McClary was lead guitar | |
371 | ||
372 | -- | |
373 | ||
374 | Who owns the copyright? | |
375 | ||
376 | ||
377 | #John Fogerty wrote "Run Through the Jungle" in | |
378 | #1970 but didn't own the rights. In 1984 he wrote | |
379 | #"the Old Man Down the Road" and was sued by his | |
380 | #former record company. | |
381 | ||
382 | ||
383 | --[CCR.mp4] | |
384 | ||
385 | #play all of it | |
386 | ||
387 | #There was a jury verdict that the "Old Man Down | |
388 | #the Road" did not infringe the copyright in "Run | |
389 | #Through the Jungle." It went to the Supreme | |
390 | ##Court on attorneys' fees, which Fogerty won | |
391 | ||
392 | -- | |
393 | ||
394 | Credits: | |
395 | ||
396 | Rock and Roll Hall of Fame, | |
397 | Rob Zand, CC-BY-SA, | |
398 | https://flic.kr/p/7qdcTb | |
399 | ||
400 | <i>And thanks fair use!</i> | |
401 | ||
402 | --[font=Sans 100px][text-color=white][R&RHallofFame.jpg] | |
403 | ||
404 | ||
405 | Thanks! |