Basic Venue Safety
for Festivals, Concerts, Shows, Protests, Parties



Basic Venue Safety
for Festivals, Concerts, Shows, Protests, Parties, and More
by Susan Basko, esq.

When you gather a large group of people for an event, your topmost priority should be their safety.  Disasters happen very quickly and are almost always avoidable.  The conditions that cause a disaster are almost always the result of those running the event taking a shortcut, not thinking things through, being lazy, or being cheap (or being too poor to do things right and going ahead and risking lives).   By "disaster," we mean something that causes multiple deaths or injuries. In a venue disaster, the deaths will usually be from smoke/fire, trampling, or crushing.

The place where the event is being held is the venue.  The venue may be indoors or outdoors. Disasters happen at outdoor venues, too.  Different types of events have different purposes, but the safety factors on all of them are quite similar.   Here are some basics:

Capacity:  Every venue, indoors or out,  has a maximum legal capacity of how many people are to be allowed in.  Exceeding the capacity is extremely dangerous.  The capacity of an indoor venue may be stated as one number if standing and another number if seated.  If a venue is such that patrons are flowing in and out, then you must use counters and see how many are inside before letting more in.

At most venues, the legal capacity is posted on a sign on the wall.  If you make a habit of looking at these signs, you will see that most venues have a much lower legal capacity than you might expect.  The legal capacity is based on square feet, purpose, whether patrons will be standing or seated, and if seated, at chairs or at tables, number of exits, number of toilets, and other factors.  It is great for an event to draw a crowd, but if the crowd exceeds the capacity of the venue, it is dangerous.

Permits/ Inspections:  Almost every locale requires any venue to be inspected and licensed as a permanent venue or permitted as a special venue.  These permits and inspections go a  long way in providing for safety. Most locales will inspect the layout of the space, the exits, the smoke detectors and sprinklers, lighting, electricity, platforms and stages, structures, props and hangings, sanitation, and any food service.  Many locales have written laws, rules, or policies that spell these factors out in detail.  You should work with people who know the rules and follow them.  Buy the guidebooks and have your staff use them.

Layout:  The floor layout for an event should be done in advance to scale with a computer rendering.  It should be done according to the local laws.  By law,  there must be large amounts of space between two tables.  By law, there must be a very wide open space in front of and around any exit or pre-exit.  A pre-exit is the exit from a room to another space that is not the outdoors.  A venue may have 5 or  6 pre-exits from the event space to the outdoors.  Each pre-exit must be carefully planned and the space around it must be laid out properly.   At set-up time, the floor is measured and marked with chalk, so the layout matches the rendering.

Exits:  Disasters often happen because there are inadequate exits or exits have been blocked or locked. Even if a place has been inspected and licensed, if a manager or security guard gets it into their heads to lock exits, for their reasons of "safety," they can invalidate the license, invalidate the insurance, and endanger lives.  Never allow anyone to lock or block an exit.  If a venue has been licensed or permitted based on  a certain number of exits, if one of those exits is not functioning, at any time or for any reason, the entire venue becomes unsafe and usually also is invalidating its license and insurance and well as endangering lives.  If a venue needs to hire an extra set of people to stand by a door to make sure people do not sneak in, or whatever the concern is, then that is what must be done.  An exit cannot be locked or blocked for any reason.  (Managers of stores or fast food restaurants often lock or block one of the exit doors, thinking that this will slow down a thief.  This practice is illegal and very dangerous and should be reported to the town or city.  Exits are required by law and causing any exit to not work can easily lead to disaster.  If you work for a business that blocks or locks exits, you can make an anonymous complaint to the town or city. )

Never allow any item to be placed in front of an exit. Items that some may be tempted to place in front of an exit include a ticket table, merchandise table or booth, autographs table, coat rack, etc.   Laws in most places require wide aisles or spaces between tables or between banks of chairs, and at least 10 feet of clearance in all directions at any exit.  Most places require lit "Exit" signs.  Venues should have emergency light systems that go on if the other lights fail, or in case of smoke or fire.

Exit Path:  The exit path should be designed so that each succeeding exit space is bigger and wider than the last.  This is equally important at an outdoor venue as indoors.  There was a terrible crushing disaster a few years ago at an outdoor festival where the exit gates led to a wide space that then led to a narrower tunnel.  Too many people got into the tunnel and people were crushed to death.  In an indoor venue, make sure the exit path is not made narrower by lines to bathrooms, furniture, a snack bar, magazine racks, etc.  If the lights are out and the place is dark and filled with smoke, anyone walking or crawling to an exit should meet no obstacles.  Turn out the lights and try it.

Fire Hazards:  Disasters have been caused by such things as sound insulation that was not fireproof, use of pyrotechnics, use of open flames or candles, decorations that were not flameproof, patrons using lighters to see, and other such things that, in hindsight, were easy to detect.  Absolutely any item that is used as a structure, decoration, prop, or furnishing in a venue should be flameproof or highly flame retardant.  Hold a lighter to it for 10 minutes and see if it burns.  Curtains, insulation, table cloths, upholstered chairs, decorations, ceiling tiles, etc. must all be flameproof.  Pyrotechnics or flame should never be used indoors, and if outdoors, should only be run by licensed professionals in a space that has been inspected by a fire marshal.   Venues that bend these rules are the ones where a disaster is more likely.  There was a disaster that was caused by a spinning birthday candle that lit decorative ceiling tiles on fire. Always think of the worst case scenario and plan accordingly.

Structures:  Collapse of stages or structures is sure to be disastrous.  Hire only a licensed, bonded, insured company and have the structures inspected by an outside source.  If a stage or structure appears to be top heavy, flimsy, off-balance, shaky, etc., it probably is.  Such situations may occur because those holding the event are trying to cut corners, save money, do things cheaply.  This is unacceptable.

Crushing: Crushing disasters happen when too many people get into one space at one time.  That's simple and logical, but preventing it is a fine art.  At outdoor venues with open lawn area, venues still often have the area just in front of the stage as a seating area, often with tickets. This is to prevent stage crush.

Even if an entire venue has seating, there can be crush if open seating, first-come, first in, is used.  This is sometimes called "festival seating," a term that makes no sense.  At festivals, the audience does not sit, but walks around.  It might also be called "General Admission."  This type of ticketing has been outlawed in some places.  It is much safer to assign tickets to seats.

It is now very common at festivals to have a large empty space in front of the stage, protected by fences and guards.  This is to prevent stage rushes as well as to give leeway to prevent crushing if the crowd begins to push.  However, people might also be crushed against such a fence, so fences that are flexible and will give way if needed are often used.  It is best to only allow into any section of space the number of people that can be safely accommodated in that space.  That requires refusing entrance once any space is already filled.

Rowdy Patrons:  Patrons who are intoxicated or agitated can present a danger, obviously.  The usual techniques of screening at the entry and a good security force work well to prevent fights.  Rowdy people are also the ones likely to cause a panic that leads to a rush to the exits.  A rush to an exit can happen quickly.  Security should be trained to isolate and contain any incident, so it does not result in a rush of people, with danger of a crush.  Making sure the venue is laid out properly and that it is not over capacity also helps avoid crush or rush.

Other Causes of Crushing:  Crushing and trampling can cause many deaths and injuries very quickly.  Other causes of crushing include locked or blocked exits, a real or perceived sense of danger, such as smoke, an odor, a sound that is or is perceived as a gunshot or explosions, a real or perceived terrorist attack, a real or perceived special happening, such as the belief that a special star is about to appear on the stage, etc.

CAMPING FOR MUSIC FESTIVALS: Creating a Campground

Copyright: How to Protect Your Visual Art


Copyright: How to Protect Your Visual Art

Visual art is often copyright infringed these days, in large part because of online printing companies that allow art created by anyone, without properly vetting the source. There are several things you can do to help protect your visual art.

Examples of visual art protected by U.S. Copyright include (but are not limited to):

Advertisements
(visual / photography)
Architectural Works
Artwork (2D, 3D)
Blueprints
Board Games (visual aspects)
Buildings
Carpeting
Cartography
(maps / globes)
Cartoons, Comic Strips, Comic Books
Catalogs (visual aspects)
Craft Kits Drawings
Fabric Designs
Flooring Designs
Geologic Charts
Graphic Designs
Greeting Cards
Illustrations
Jewelry Designs
Labels (visual aspects)
Logos
Maps
Masks
Models
Paintings
Photographs
Posters
Prints / Reproductions
Product Packaging
Puppets
Scientific Drawings
Sculptures
Stationary
Stencils
Technical Drawings
Textile Designs
Toys
Vessel Hulls
Wallpaper
Websites
Wrapping Paper

HOW TO BEST PROTECT YOUR VISUAL ART:

1. Register Copyright with the U.S. Copyright office on each visual art work.  In some instances, registering a group of works as a collection is more affordable.  Registering each work separately and carefully providing a name that actually describes the content of the work, and giving solid contact information, goes a very long way in protecting copyright.  While copyright theoretically exists on any work that is creative and original and set into tangible form, the only way to make use of Copyright protections is to register the work with the U.S. Copyright Office.  Registration before the work is infringed or shortly after it is created is the only method that brings the possibility of statutory damages and attorney fees in case of an infringement lawsuit.  There is no substitute for Copyright registration. There is virtually no copyright protection on any work unless it is registered.

2. Put the Copyright sign onto the work.  That's the copyright symbol ©, followed by the first year of publication, followed by the name of the copyright owner. © 2018 Susan Basko   Having the copyright notice on your work gives notice and also removes any defense that the infringement was inadvertent.

3. Watermark the copyright symbol and name of the owner using a watermarking or tagging app, or by including it into the design itself.

4. License Information you provide must be crystal clear.  "The work must not be altered.  The artist's name must not be removed. No derivative works allowed without permission." Etc.

5. Periodically Check to see if your work is being infringed online, on social media, by online sellers, in stores, by art or photo licensing companies, by print-on-demand companies, elsewhere.

6. Send take down and removal notices. Learn how to do this.  The most potent way to tell someone to take down your art work is by providing the registered copyright information.  To be able to provide that, you need to first register copyright on the work.

7. Work closely with a lawyer who will help protect your copyrights.


Co-Songwriters: Basic Music Law


Co-Songwriters: Basic Music Law
by Susan Basko, Esq.

"Beautiful - The Carole King Musical" is a wonderful stage play about Carole King, one of most successful and beloved songwriters in the United States.  The show traces her songwriting partnership with Gerry Goffin.  In their partnership, Gerry Goffin often wrote the lyrics, while Carole King wrote the melody, composing on piano. 

Songs are a very important factor in U.S. musical history and form the basis of much of music law and music copyright law.  Music Copyright law in the U.S. is largely based on the concept of songs. 

What is a song?  A song is a short piece of music, with lyrics and melody.  Lyrics (the words) and melody (the tune) are the two components of a song that are recognized in U.S. Copyright law.  Music and lyrics are what traditional American songwriting are all about.  

Today, there is a lot of nontraditional songwriting, largely due to the use of electronics and computer music editing being used to create "songs."  Many rap or hip hop songs are created by making a beat, which is a short piece of sound, which may then be repeated over and over, with words spoken or sung to it.  Often, the beat is created by a beatmaker, who sells it or licenses it to a producer or music artist.  Many times, such songs are created without anyone playing any musical instrument, and there might not be a discernible melody, as such.  Often times, such a "song" is a product of creation on music editing equipment, rather than being lyrics that are written and a melody that is composed, which is then recorded.  

Music law and music copyright law were created to meet the needs of traditional songwriting, in an era before electronic music creation existed.  This blog post is about how music law and business treat the traditional song.

As stated, U.S. copyright law considers a song to be two elements: lyrics and a melody.  What does copyright law do with pieces of music that are drums or other sounds, with words spoken over them?  Copyright law gets confused by that.

Traditional songwriting in the U.S. has often involved co-songwriters.  Traditionally, this was two people -- one who was good at writing lyrics, and the other who was talented at composing, usually on a piano or sometimes on a guitar.  It has been traditional practice in the U.S. songwriting industry that co-songwriters are each given an equal share of Copyright ownership over a song.  This is particularly true if they are a songwriting team.  

Another basic element of music Copyright law is that a recorded work of music has 2 Copyrights: one is for the songwriting (lyrics and melody) and the other is for the Sound Recording.  Traditionally, the songwriting copyright is owned by the songwriters and assigned to a publishing company for a period of time.  Traditionally, the sound recording is owned by a record label.  One song might be recorded over and over by many different recording artists, so the Owner of the Copyright on the Sound Recording will be different on each one, while the owners of the Copyright on the Songwriting will remain the same.  

U.S. Copyright law gives the songwriters the right of first recording.  This means that the songwriters get to choose who will be allowed to first record the song.  This is a factor featured in "Beautiful: The Carole King Musical." In the show, Don Kirschner, the music publisher and producer, buys or licenses the rights to songs written by Carole King and Gerry Goffin and then places those songs for first recording with different music artists that he thinks can turn them into hit songs.

One special nugget in U.S. Music Copyright law is called Compulsory Licensing.  This law says that when any song subject to U.S. Copyright law is first recorded and released, then afterwards, anyone else may make a recording of that song.  It is called Compulsory Licensing because the songwriter or publisher must allow anyone to record a cover version of the song, if that person sends them notice and pays the royalties that are due.  One need not wait for permission or approval from the songwriter or publisher, and none may be sent. After notice is given and the royalties paid, the person can record their own version of the song, as long as they do not substantially change the lyrics or melody.  This is called a "cover song" or "cover version."  The person wishing to record a cover version can send this notice on their own -- if they can locate the publishers and find the required wording, which is contained in the U.S. Copyright law  -- or they can pay a fee to a music lawyer or music cover song licensing company.  It can be very difficult to accurately locate all the publishers that might share control on one song, so it can be well worth it to pay for a licensing service.  The statutory royalties are, at this time, about 9.1 cents per copy to be made of a song under 5 minutes.  Royalties are higher on a song 5 minutes or over, which is why most American popular songs are under 5 minutes. The law, the royalties, and the industry are geared toward songs being under 5 minutes. That's something to keep in mind if you are writing songs and want to make your own path easier. 

The licensing required to make a cover recording of a song is called Mechanical Licensing.  Mechanical licensing is obtained directly by giving notice to the songwriters' publishers, or by paying a licensing company to do that for you.  PROs (performing rights organizations), such as ASCAP, BMI, and SESAC, are not involved in mechanical licensing. 

Record companies that will be making and selling many copies of a record will negotiate with the publishing company to give them a lower rate per copy.  Most publishing companies take 50% of the songwriting royalty -- which is why some songwriters today run their own publishing company.  Let's say you buy a digital copy of a cover version of a song.  If full royalties have been paid, the songwriter who has signed to a publishing company will get half of 9.1 cents of your purchase -- or about 4 and a half cents.  If the song has been co-written by two people, they each get 2 and a quarter cents.  Thus, you can see that it is very hard to make a living writing songs.  "Beautiful: The Carole King Musical" accurately portrays this, as Carole and Gerry have hit songs playing on the radio, but still live with Carole's mother in her New York apartment and cannot afford to get their own place.  Later in the play, after they have many hit songs, they are finally able to get their own place in the suburbs of New Jersey.  

The Compulsory Licensing law came about to benefit songwriters as well as the public.  Songwriters wanted their songs to be recorded by multiple artists.  Sometimes publishers were putting a stranglehold on recordings by holding the songs ransom for the highest bid.  Having an equal royalty amount for each copy leveled the playing field while guaranteeing the songwriters some income if their songs were recorded.  This system allowed the traditional songwriting practice to flourish.  If a song was attractive, with good lyrics and a catchy melody, many music acts would want to record it.  Until the rock band era of the late 1960s, when a good song was written, it would be recorded by many popular artists of that time. When the rock band era came in, the idea was often that a song "belonged" to a certain group and could not plausibly be replicated by another group.  Legally, anyone could make a cover version of, for example, a Led Zeppelin song, but this was rarely done.

Compulsory licensing requires the same amount of royalty per copy, regardless of who the songwriter is.  You can record a song by the famous Beatles writing team of John Lennon and Paul McCartney for the same price as you can make a cover version of an obscure song written by some schmoe who plays only at the local open mic night.  

Sometimes in a rock band, there is an egalitarian approach to songwriting, where all members of a band are given Copyright on the songwriting.  This would be the subject of a band contract where this is spelled out.  If they are all actually participating in creating the song, this might be fair.  It can certainly be a headache for anyone trying to give notice to make a cover version, since each songwriter might be represented by one or more publishers!  If there are 4 or 5 songwriters to the song, there can be many publishers to identify and track down.  To make matters more complicated, may songwriters change publishers numerous times through their career, and they may have different publishers handling the song in different parts of the world.  

Many of the most famous parts of songs are actually created by studio musicians in the process of recording a song.  Usually, they do not share songwriting credit or copyright.  Louie Shelton is a guitarist who has created many famous riffs on rock songs.  Carol Kaye is a studio bassist who created many of the most famous bass riffs in rock music.  Studio musicians are usually paid very well, but are rarely given songwriting credit or copyright, unless that was something they had negotiated for in advance.  Studio musician work is generally Work for Hire -- meaning, they are paid, they perform, and the ownership of the recording belongs to the record label that hired them for the session.  This fits with the way songwriting is viewed in the traditional American sense -- that a song is the lyrics and melody, not the clever bass riff.  

A song that is created using parts of an old song is called a Derivative Work.  To make a derivative work, you have to get permission for the Copyright holders on the original work.  I covered this topic in this blog post on Derivative Works.  The fun part about derivative works, if you can get permission to create one, is that you can share songwriting credit with the original songwriter.  

Another means to being a sort of Co-writer is to create an arrangement of a song.  If the song is still under copyright, that would be a derivative work.  If the song has passed into the public domain, meaning the song is over 80 years old, then you can create your own arrangement of it without getting permission.  This is pretty special because you can register Copyright with yourself as Arranger on a piece of music by Johann Sebastian Bach  -- or any other musical composer who wrote long ago.  There are reputable websites online that list songs that are in the public domain -- older classical music and many traditional folk songs.  Basically, any song written before 1938 will now be in the public domain -- but do your research on each song before assuming it is in the public domain.  

Also - be aware that a more recent arrangement of a song in the public domain will not  itself be in the public domain.  You may be familiar with an arrangement of an old song, but the arrangement may have been created much more recently by someone who still holds copyright on that arrangement.  For example, the traditional folk song "Greensleeves" is in the public domain. But, there have been many arrangements of it.  The version you know and love may have been created by someone who registered the Copyright on their arrangement.  While you would not need a mechanical license to record Greensleeves, you might need one to record a particular arrangement of it.  The same is true of such classical favorites as Pachelbel's Canon.

A few years ago, CD Baby put together a list of Christmas Carols that are in the public domain and a list of Carols that are not in the public domain.  To make a cover version of the songs that are on the "not in the public domain" list, you need to get mechanical licensing, which is done by giving notice and paying royalties -- or paying a licensing service to do this for you.  These lists can be surprising, since songs we might think of as "belonging to everyone" actually are owned by the people who wrote them.  

If people are co-songwriters, each one has the right to be listed on the Copyright registration.  If one of them registers the song, but fails to list the other songwriters, those who are left out can petition the Copyright Office to amend the registration to include them.  

The best way to start off a Co-Songwriting partnership is with a CONTRACT that is in writing and signed by both people.  The contract should spell out that each is an equal partner, that each will equally own the Copyright, that each will be listed on the Copyright registration.  The contract should also state who will have the right to administer the song -- meaning, who will have the right to assign the song to a publisher or licensing company or to a record label or music artist.  There are many other simple provisions for such a contract, particularly, what happens if and when the relationship goes sour or dies out or one of the parties wants to write on their own or with a different partner.   Co-songwriting is much like a love relationship, and it often is tied in with one, too.  Spelling it all out in a contract in advance can protect everyone's interests down the line.  


Disney "Let it Go" Lawsuit: Think Again



Disney "Let it Go" Lawsuit: Think Again
by Susan Basko, Esq.

Disney's movie "Frozen" made famous the song, "Let it Go."  The song was written by husband and wife songwriting team, Kristen Anderson-Lopez and Robert Lopez.  This duo has written many of the famous Disney songs.  A man named Jaime Ciero has filed a lawsuit claiming the Lopez songwriting duo copied a song he wrote in Spanish called "Volar," which was released in 2008.

Some people think the Lopez song does have similarities to the Ciero song.  But, hold on a second! A while back, I was mildly swamped with people saying that "Let it Go" was stolen from their song!  That got me to looking up other songs that sound very similar to "Let it Go," -- and there are quite a few.  I won't post any of the songs from the different people that contacted me, but I will post some of the many that I found that also sound like "Let it Go."

My conclusion is that "Let it Go" is not a very original song, and that it became famous because it was in a terrifically famous and beloved Disney movie.

Listen to some of the songs below and see what I mean. (Remember you might have to get past the commercials on some of these.  Please do!)

You can listen to the Disney "Let it Go" above and to Jaime Ciero's "Volar" just below:



From 1974, we have Eric Clapton's "Let it Grow." Pretty similar, huh?

"Let it Go," written by James Bay, covered here beautifully by Austin Precario:

Dave Mason, from 1978, "Let it Go, Let it Flow":


From 1995, "Let it Flow," by Spiritualized:


"Let it Go," Ziggy Marley:

"Let it Go," John Kee:

"Let it Flow," Gates Praise:

"Let it Flow," Toni Braxton:

A Korean song, "Let it Flow," 2006 video:

From 1976, "Let it Flow," Tamiko Jones:

en Vogue, "Let it Flow":


In fact, the Harry Fox songfile has about 100 songs titled, "Let it Go."  The ones I have located tend to have lots of similarities to the Frozen song.  Below are the songwriter names and file numbers for the listed songs titled "Let it Go."

Who copied whom? Or did no one copy anyone?  I think a lilting chorus of "Let it go," or "Let it flow," or "Let it grow," or "Let it show" is going to sound similar in any context. In copyright, this might be known as "stock" or possibly as noncopyrightable material.  In the world of music or art, this might be known as building upon a genre or tradition.

The Lopez/ Disney song is famous and financially successful, not because it has similar words or music to many of these other songs, but because it is in a super famous Disney movie.

"Let it Go" songs from Harry Fox Songfile, with songwriter names:


L24848
S. HOFF, D. PETERSON, V. PETERSON, M. STEELE
L16365
STEVE TURRE
L24859
JOSEPH ELLIOTT, RICHARD SAVAGE, RICHARD JOHN CYRIL ALLEN, PETER ANDREW WILLIS, STEPHEN MAYNARD CLARK
L22269
TOM RUSSELL
L1906O
IAN STANLEY, ROLAND ORZABAL, KIRK FRANKLIN
L11742
JOHN P. KEE
L09527
ANGELA STONE, G. DEVEAUX, C. MOLE
L2011X
NICOLE ALBINO, NATALIE ALBINO, ELIJAH WELLS, LIONEL BERMINGHAM
L01879
KYLE, RAMBEAUX, BLOOM
L24855
LUBA KOWALCHYK
L24854
DON COOK, RAFE VANHOY
L16644
DAVID BURRILL
1001RE
DAWN TALLMAN
L16449
JERRY DOUGLAS, RONNIE BOWMAN
L2318X
M. RAE, S. CHRISTIAN, D. BENOIT, E. WILCOX, R. ROBINSON
L2445P
SCOTT BLASEY, GREG JOSEPH, DAVID MINARIK, ROBERT HERTWECK
L24857
JOHN ROSS LANG, STEVEN P. GEORGE, RICHARD JAMES PAGE
L24860
AKIRA TAKASAKI, MINORU NIIHARA, MASAYOSHI YAMASHITA, MUNETAKA HIGUCHI
L08445
B. FLOYD, I. NEVILLE, C. DRAYTON
L21699
K. MANTRONIK, J. FRANK
L01739
GERALD DASH TUSO, CHRISTIAN FUHRER
L2432P
LASHAWN AMEEN DANIELS, RODNEY JERKINS, KENNY PRATT, FREDDIE JERKINS
L01537
TENDER FURY
L1973M
JUSTIN SMITH, STEPHEN FISHER, DANIEL MURILLO, KRIS COMEAUX
L2281M
GORDIE SAMPSON, BLAIR DALY, ALAN THOMAS DOYLE
L24853
RICHARD RAYMOND FINCH, HARRY WAYNE CASEY
L2456G
DAVE BASSETT, DANIEL CHRISMAN, GRAHAM PATRICK COLTON
L24847
BILLY SMILEY, TOMMY SIMS, MARK GERSMEHL, RICK FLORIAN, GORDON KENNEDY
L16398
M. MARTINEZ, SCOTT STORCH, TRACEY MOORE
L01007
MIDGE URE
L01842
GARY RAMON GIPPS, GARY RAMON
L14744
T. FARAGHER, D. FARAGHER, B. HOWARD
L2114K
GLENN HUGHES
L1914D
ALONZO WANG, ROB WELLS, RUPERT GAYLE
L23972
DURRELL BABBS, S. ANDERSON
L2017N
S. MENDES, D. AMARO, S. NETO, R. POUNDS, N. WATTS, M. WATERS, B. AMARO, C. RODGES
L00004
FULL FORCE
L2276U
NICK BOLD
L19624
D. LILES, R. ALTIZER
L23088
JASON SELLERS, STEPHONY SMITH
L18725
ZIGGY MARLEY
L2221J
BEAN DOZIER, HOWIE DOROUGH, DAVID RYAN HARRIS
L2301W
DANIEL ALEXANDER HAVERS, CHRIS PAGE
L17447
PRIEST BROOKS, RICARDO BROWN
L2337Y
TODD RONNING, MARKUS WOLFE
L11169
BRAD, ANDY
L2395L
GABRIEL RIOS
L24850
M. SHARP
L1923X
RUSSELL TAN, KIMBERLY DEL FIERRO-HUFFMAN
L23431
EDWARD GREENEBAUM
L11513
DOUG HAVERTY, ADRYAN RUSS
L1962C
KENNETH NAVARRO
L2268G
ALEXANDRA DENNY
L24856
MICKEY NEWBURY
L24865
BENNY DANCY, DAVE GUSSOM
L24851
GREG SAGE
L24849
KROKUS STORACE, VON ARB, KOHLER, VON ROHR, GRIVELLI
L1921X
CHRISTIAN MOLLER NIELSEN
L2134F
ANDY ANDERSON, JEFF ADAMS, RENEE JACKSON
L2467D
FRED WILHELM, KEVIN FISHER
L1964I
PATRICK M. LANDREVILLE
L24846
AUSTIN CUNNINGHAM, THOM MCHUGH
L24852
JERRY FOSTER, BILL RICE
L2367Z
RICKY HANLEY, KURT RUSSELL
L2395X
GEORGE TEREN III, JASON BLUME
L24858
JERRY REED HUBBARD
L00919
CHIP KINMAN, TONY KINMAN
L2231C
DONNIE YALE, GYMMY THUNDERBIRD, FRANK BACKGAMMON, MURPHY UPSHAW
L10991
KARON PENNING
L2249S
MARK BENT, INGO NYAKAIRU, BOBBY ANDERSON, ANDY LOWE, ALAN AKEHURST
L25190
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