Showing posts with label music law. Show all posts
Showing posts with label music law. Show all posts

Derivative Work - "Play that Song"



Derivative Work - "Play that Song"
by Susan Basko, esq.

Recently, a Facebook friend who is a talented pianist and composer posted this question:

"so the song "Play that Song" by the band Train.... to me, is essentially the classic "Heart and Soul"; the melody is pretty much verbatim, so... is there copyright infringement here?"

The question piqued my interest because I am a lawyer who works in music law and copyright.  Listen to the video above to hear "Play that Song," by Train.

First, I looked and found that "Heart and Soul" is an old song by Hoagy Carmichael.  Listen to that song in the video below.


My friend was right -- the two song melodies are undeniably the same.  Was this copyright infringement?

Next, I looked up the names of the songwriters on each of the songs.

"Heart and Soul" is listed as being written by Hoagy Carmichael and Frank Loesser.

"Play that Song" is listed as being written by Hoagy Carmichael, Frank Loesser, William Wiik Larsen, and Pat Monahan.  See-- the new song is naming Hoagy Carmichael and Frank Loesser, the two writers from "Heart and Soul," in its list of songwriters.

And who are Pat Monahan and William Wiik Larsen? Pat Monahan is the lead singer of Train and also an accomplished songwriter.  William Wiik Larsen is a long time songwriter and producer with many professional songwriting credits.  (Please note the correct spelling is William Wiik (two i's) Larsen, not William Wilk Larsen.)

Thus, "Play that Song" has four songwriters -- two of whom are alive, and two of whom died many years ago.

 "Play that Song" is what is known as a derivative work in Copyright Law.  The melodic tune created by Hoagy Carmichael and Frank Loesser was used with permission of the owners of the copyright of the songwriting on "Heart and Soul," which would be the publisher or the estates of the men, since both Mr. Carmichael and Mr. Loesser passed away many years ago.  Both men are also listed as songwriters on "Play that Song," which means their publishers and estates will share in the songwriter royalties on the new song.  This shows a perfect example of how registering copyright on songwriting can be of benefit even long after the death of the songwriter.

A work that is creative and original and set into a tangible medium can have copyright. Copyright gives a whole list of protections and rights.  One of those rights is the right to control who gets to make a  "derivative work."  A "derivative work" is a new work that is derived from one or more existing copyrighted works.  This pdf booklet gives a lot of information on derivative works.

If you wish to create a song that is a derivative work, you should have your music lawyer contact the owners of the copyright on the songwriting that you wish to use.  First, the lawyer will look up and see who the actual songwriters are on the song.  Next, the lawyer will try to locate all the current publishers for the song. Next, the lawyer will contact the publishers and seek permission for you to create the derivative song.  If the new song qualifies as a derivative work, it will then be copyright registered naming both you and the original songwriters as the songwriters.

If a songwriter creates a derivative work song without getting permission and without naming the original songwriter, that is copyright infringement and can lead to a lawsuit.  If you are borrowing from the songs of others, you must get their permission or risk legal trouble.

NOW THINK ABOUT THIS:  When a song is very old, it no longer has copyright protection.  Then, it is in the public domain.  If you create a new version of a song in the public domain, or use parts of it, or create a remix of several such songs, or create a new arrangement, you do not need permission.  If you do create such a work, you can register your name as the songwriter or arranger, along with the original songwriter.  For example, if you create a remix of Pachelbel's Canon in D, you can list yourself as the songwriter alongside Pachelbel, as many songwriters and composers have done.

Or, if you come up with an updated version of "Fur Elise," you can list your name as songwriter along with Ludwig van Beethoven.  Check out this version of "Fur Elise" created by Josh Vietti.



May this information help you to create.  Enjoy the music.




What is a Booking Agent?


What is a Booking Agent?
by Sue Basko, esq.

The answer to this question differs from state to state, depending on the Talent Agency law of that state.  In the two states in which I am licensed, California and Illinois, the laws are quite similar to each other, though California enforces and publicizes the law much more rigorously. California is much better at protecting actors, musicians, and other talent from unscrupulous people who claim to be agents or bookers. 

A booking agent is a talent agent that works on behalf of venues to book talent for them. A booking agent is required to be licensed as a Talent Agent.  To get such a license, a person must apply to the state and must meet requirements such as a background check, testing, insurance, an in-state place of business, and other requirements.  It is not cheap or easy to become a talent agent.  

The purpose of licensing of talent agents is to protect actors, musicians, and other entertainers, as well as the venues that book them.  The talent agent is required to make sure the whole deal meets the requirements of the law so that people get paid and safety and decency laws are met.  Working with a non-licensed talent agent or booking agent is terribly risky.  Many people that call themselves booker or booking agents are actually operating without a license.  Before doing business with them, you should ask if they are licensed and check it out.

There are two other types of people that might be booking talent for shows.  One is called a Talent Buyer.  A Talent Buyer is an employee of a venue or of a company that owns numerous venues.  A Talent Buyer books talent for a venue and usually deals with the licensed agent that represents the talent, or with the manager or talent directly, if the talent has no agent.  It will be the duty of the licensed Talent Agent to be sure the contract offered by the Talent Buyer meets the requirements of the law as well as the needs of the Talent. 

The other type of person that might be booking a show is called a Producer. The producer is a person who takes financial and legal responsibility for creating a show.  Like a Talent Buyer, a Producer will work with the licensed Talent Agent that represents the talent.   If the talent does not have an agent, a lawyer should be engaged for and by the talent to be sure the contract and deal are acceptable.





Pete Seeger's Songs (a list)


Pete Seeger's Songs (a list)
list compiled by Susan Basko, esq.

WHERE HAVE ALL THE FLOWERS GONE Peter Seeger

WATER IS WIDE Peter Seeger, Traditional

WAIST DEEP IN THE BIG MUDDY Pete Seeger

ABIYOYO Peter Seeger, Traditional

ONE GRAIN OF SAND Pete Seeger

MY RAINBOW RACE Peter Seeger

OPENING THEME Pete Seeger

QUITE EARLY MORNING Peter Seeger

FOOLISH FROG Charles Seeger, Peter Seeger

OLD DEVIL TIME Peter Seeger

SAILING DOWN THIS GOLDEN RIVER Pete Seeger

RIVER OF MY PEOPLE Peter Seeger

GET UP AND GO Pete Seeger

BAYEZA (FROM: CHORAL FOLKSONGS OF THE BANTU) Pete Seeger

MY FATHER'S MANSIONS    Pete Seeger

THIS OLD CAR Peter Seeger

LETTER TO EVE Peter Seeger

OLEANNA Pete Seeger

MEXICAN BLUES Peter Seeger

MY DIRTY STREAM Peter Seeger

SWEET LITTLE BABY Pete Seeger

MAPLE SYRUP TIME Peter Seeger

TAKE IT FROM DR KING Peter Seeger

OF TIME AND RIVERS FLOWING Peter Seeger

PRECIOUS FRIEND YOU WILL BE THERE Peter Seeger

SNOW, SNOW Pete Seeger

VISIONS OF CHILDREN Peter Seeger, Traditional

TO MY OLD BROWN EARTH Peter Seeger

WHERE'S MY PAJAMAS Peter Seeger

TO EVERYONE IN THE WORLD Pete Seeger

ARRANGE AND RE-ARRANGE Peter Seeger

WORDS, WORDS, WORDS Peter Seeger

FLOWERS OF PEACE Peter Seeger

ALL MY CHILDREN OF THE SUN Peter Seeger

SAM THE WHALER Peter Seeger

YOU'LL SING TO ME TOO Peter Seeger

WHERE ARE MY PAJAMAS?  Pete Seeger

TROUBLE AT THE BOTTOM Peter Seeger

NOW THAT IT'S ALL OVER (HE'LL GO BACK TO SELLING SHOE S) Pete Seeger

THROW AWAY THAT SHAD NET (HOW ARE WE GONNA SAVE TOMORROW) Pete Seeger

AND STILL I AM SEARCHING Peter Seeger

NOW WE SIT US DOWN Pete Seeger

O HAD I A GOLDEN THREAD Pete Seeger

OLD FATHER HUDSON Peter Seeger, Traditional

WILLIAM MOORE THE MAILMAN Pete Seeger

I WONDER, I WONDER, I WONDER Pete Seeger

THE STAR CAROL (BASED ON A TRADITIONAL NEOPOLITAN CAROL) Pete Seeger

AS THE SUN ROSE Peter Seeger

D MINOR FLOURISH Pete Seeger

SOUR CREAM Pete Seeger

DON'T ASK WHAT A RIVER IS FOR Pete Seeger

FULL FATHOM FIVE Peter Seeger

ARAN Pete Seeger

EV'RYBODY LOVES SATURDAY NIGHT Pete Seeger

HEY, MONTSWALA (FROM: CHORAL FOKSONGS OF THE BANTU) Pete Seeger

OLD HUNDRED Peter Seeger, Traditional

 BEFORE THE FIRE  Pete Seeger

DE COLORES Pete Seeger

MASTINCHELE WACHIPI OLEWAN Pete Seeger

RIVER SONG (BACK AND FORTH THE HUDSON FLOWS) Pete Seeger

SAILING DOWN THE GOLDEN RIVER Pete Seeger

WAIST DEEP IN THE BIG MUDDY THE BIG MUDDY Pete Seeger

IF I HAD A HAMMER (THE HAMMER SONG)  Lee Hays, Pete Seeger

EMPTY POCKETS BLUES Lee Hays, Peter Seeger

HOLD THE LINE Lee Hays, Pete Seeger

BACH AT TREBLINKA Yuri Suhl, Pete Seeger

CUMBERLAND MOUNTAIN BEAR CHASE Pete Seeger, Dave Macon  


THE BURNING OF KINGSTON Pete Seeger, William Gekle

THE FIRST SETTLERS David Bernz, Pete Seeger

FIFTY SAIL ON NEWBURGH BAY William Geckle, Pete Seeger

THE BELLS OF RHYMNEY Pete Seeger, Idris Davies

HE LIES IN THE AMERICAN LAND Andrew Kovaly, Peter Seeger

ARIRAN Arthur S Kevess, Peter Seeger

BRING 'EM HOME Jim Musselman, Pete Seeger
  
 IF YOU LOVE YOUR UNCLE SAM Jim Musselman, Peter Seeger

BLESSED BE THE NATION Jim Musselman, Peter Seeger

BALLAD OF JACKHAMMER JOHN Pete Seeger, Woody Guthrie

IF I CAN'T BE REDUCED Pete Seeger, Martin Bourque

ANDORRA Malvina Reynolds, Pete Seeger

JARAMA VALLEY  Lee Hays, Woody Guthrie, Peter Seeger

GET THEE BEHIND ME SATAN Lee Hays, Millard Lampell, Peter Seeger

JESUS JOY OF MAN'S DESIRING Peter Seeger, Johann Sebastian Bach, Datemi Un Martelo 

IF I HAD A HAMMER Sergio Bardotti, Pete Seeger, Lee Hays

JACOB'S LADDER  Add'l., Peter Seeger, Traditional

FISHERMAN'S SONG  Anonymous, Adapt., Pete Seeger

IT'S A LONG HAUL Jeffrey Travis, Pete Seeger, Alan Lomax, John A. Lomax

DELIVER THE GOODS Lee Hays, Millard Lampell, Bess Hawes, Peter Seeger

I DON'T WANT TO GET ADJUSTED Lee Hays, Ronnie Gilbert, Fred Hellerman, Pete Seeger

BENONI Ronnie Gilbert, Lee Hays, Fred Hellerman, Pete Seeger

EVERYBODY LOVES SATURDAY NIGHT Pete Seeger, Ronnie Gilbert, Lee Hays, Fred Hellerman

GUANTANAMERA Jose Marti, Pete Seeger, Julian Orbon, J. Fernandez Diaz

GOD REST YE MERRY GENTLEMEN Ronnie Gilbert, Fred Hellerman, Pete Seeger, Lee Hayes

BAY OF MEXICO Lee Hays, Ronnie Gilbert, Fred Hellerman, Pete Seeger, Tom Geraci

DARLING COREY Ronnie Gilbert, Lee Hays, Fred Hellerman, Pete Seeger

FOLLOW THE DRINKIN' GOURD   Ronnie Gilbert, Fred Hellerman, Lee Rays, Pete Seeger

HUSH LITTLE BABY Ronnie Gilbert, Lee Hays, Fred Hellerman, Pete Seeger

JUSQU'A LA CEINTURE (WAIST DEEP IN THE BIG MUDDY) Eng. Lyric, Music By, Pete Seeger, French Text:Graeme Allwright

How to Work with a Creative Lawyer



 How to Work with a Creative Lawyer
by Sue Basko, esq.

Most people think of a lawyer as someone they go to when there is trouble: a DUI, injury, or lawsuit.  A lawyer for creative people is just the opposite: you come to us when things are going well, when you are doing creative and good things in your life.

I’m a lawyer for creative  people.  That means I work with people who make music, make films and videos, people who write stories and screenplays, independent journalists,  people who run websites, people designing apps or games.  I work with designers, artists, songwriters, record labels, show hosts, live show and festival producers.    

Many people only go to a lawyer when there’s trouble: a DUI, a lawsuit, an injury, they need a will.  For a DUI or other crime, you’d see a criminal defense lawyer.  If you are injured, you’d go to a personal injury (PI) lawyer.  If you need to make a will or trust, you go to a Trusts and Estates lawyer.

 There are many other areas of law in which lawyers tend to concentrate their practices, such as Employment law/ ERISA, Corporate law, Tax law, Patent law, Medical malpractice law, Environmental law, Health law, and on.

People come to a lawyer for creative people when things in their lives are gelling, when they are doing what they love.  If a person plans to turn their creative activity into a moneymaking venture, or if they want to protect their creative assets, then it is time to see a creative lawyer.

Creativity + sound legal advice in a timely way =  Productive Creative Career

My areas of law and experience include these and more:

Acting
Art
Audio/ Sound design
Comedy
Computer Fraud and Abuse Act (CFAA)
Computer law
Contracts
Copyright
Cyberlaw
Design 
Email law
Festivals
Film law
Gaming
Hacking
Hacktivism
Intellectual property
Internet activism
Journalism law
Media law
Music law
Music rights and royalties
Music videos
Phone apps
Photography
Pornography/ Indecency/ Obscenity
Publicity
Radio and TV shows
Record labels
Screenwriting
Secret Subpoenas
Show producers  
Social Media law
Software as a Service
Subpoenas/ Warrants on social media/ isps
Terms of Service
Trademark
Youtube
Venues
Video
Website law
Website ownership
Writers

How to Work with a Creative Lawyer:

1) Get Acquainted.  You and the lawyer have to get to know each other a bit to see if you want to work together.  I select clients usually over a course of emailing back and forth.  I only work with people where I think there is a good fit between what they need and what I have to offer.  I am looking for clients who are honest and fair with others, who are very comfortable working on the computer and via internet, and who have a broad world view.  I only work with people who I think have substantial creative talent, who are able to take direction, and work well with others.  People come to me because I have skills,  knowledge, and experience in a wide range of creative fields.

2) Plan to Pay.  When you are planning your project or business, budget for legal help.  In most creative projects, legal work will be 10% to 25% of the budget. I make it very easy for clients to come to me, by not requiring credit checks or retainers.  I simply require payment in advance.  That way, my clients get the best help for the least expense, and I don’t spend my time being a bill collector.  It is extremely expensive and difficult to become a lawyer, and even moreso to develop special legal skills.  Lawyers need to be paid.    

3) If you need Free Help: If you can’t pay or are on a limited budget, you need to state this upfront, and see if the Creative lawyer is able to help you anyway.   I make a judgment call as to what the person really needs.  If a person tells me about a project where they are paying for the other services, but want free legal help, I suggest they rework that budget to be fair to me.  At any given time, I have clients I am helping for free.  These are people where I like what they are doing and where I think my skills are well-suited to what they need.

4) Don’t Misuse a Lawyer.  Some people try to use a lawyer to get an approval for a questionable or illegal thing they plan to do.  They’re trying to get a lawyer to find them a loophole or a way to do something that is unfair or illegal, and then plan to blame the lawyer when their scheme backfires.  I don’t work with such people.  If you plan to screw someone, I am not the lawyer for you.  Keep away, thanks.

5) Get to Know You: I have many questions for my clients.  I need to know who they are, what they are doing, what their goals are, etc.  Be prepared to tell me a lot of things.  Be prepared to show your records.  Then, be ready to answer more questions.  I need to know about you and what you are doing.  

6) Let Me Help You:  Please come to me with an open mind, willing to communicate.  I think of things you probably haven’t thought of.  That’s what I’m good for.  Sometimes, there may be issues that are more serious than you were thinking, or solutions that are easier than you thought.  

7) Follow Through.  If I tell you to do something, do it.  If you need a lawyer who will hold your hand and do everything for you, expect to pay a lot.  If I tell you to file a report with a certain agency or to remove something off your website, and you fail to do it, then you are making it so I cannot help you.  

8) Let Me Make a Plan for You.  I can lay out what you need now, what should be goals over the next months, and what should be long-term goals.  For example, if you have a website, maybe now you should register a trademark, and over the next month, have me write a Terms of Service.  Then we may need to get music and photo clearances,  and write contracts for you to use on a regular basis.  Then over the coming year, you will need updates on the Terms of Service, registration on some copyrights, employment contracts, and a few additional trademarks.  Legal work is a constant need. but it ebbs and flows.  

9) Don’t Wait!  Don’t wait till you have big trouble and things are falling apart.  If you are forming a company, partnership, band, record label – get legal help asap.  And if you are being asked to sign a contract, get a lawyer involved.

10) Don’t Undo my work or go around my back.  If I’ve written a contract, you don’t get to change it. If you want to change it, you need to talk to me.  If I am working on a deal, you don’t get to sabotage it by going behind my back.  If you do these things, you are what is considered a nightmare client, and you get dropped.  This is like going to a doctor for a surgery and bringing your own scalpel and doing your own little surgery while in the waiting room.  Ridiculous, right?  Lawyers don’t put up with it.  If you are a know it all, do-it-yourself-er, then do it yourself from the get-go and don’t trouble a lawyer.

11) Do lawyers kill the deal?  Some do.  I try not to.  My goal is to treat everyone fairly.  I try to honor everyone involved.  Usually when I write a contract, people are happy to sign it.  I believe in win-win situations.  I believe I am best helping my clients’ creative plans if I write contracts that lead to happy, healthy, long-lasting relationships with other valuable, honorable, talented people.  

12) Contracts I write:  I have a specific style of writing that I use in contracts.  I write contracts that are clear and easy for regular people to understand.  I also write contracts to be fair to all, and to honor all the parties.   I am starting to see contracts that I wrote being used by others, circulating, and  coming back to me, especially in Hollywood.  My "style" of contract is catching on.  I think this is great!

Releasing a Remix of a Cover Song




 Releasing a Remix of a Cover Song



by Susan Basko, Esq.

 QUESTION: 

Do you know what the process of releasing a remix of another artist's song would be? I would imagine it's more complicated than a cover song.

ANSWER:

Yes, that is a derivative work and you have to get permission from the owner of the sound copyright (such as a record label), as well as from the songwriters/ publishers, as well as often from the actual artist on the recording. Also, you need permission and access to the actual tracks. Issues that come into play are copyright, moral rights, etc. //

MANY people just make remixes illegally because of all this. If it turns out good, then they bring it to the people and say listen, if you like it, give me permission to sell it.

There is no statutory right to make a derivative work, -- they can tell you yes or no, set any limits, set any price, make any crazy demands.