What is the The Procrastinators’ Club of America newsletter called?
is the only U.S. state whose name can be typed on one row of keys on a U.S. standard typewriter/keyboard – go ahead, try the others. I’ll wait.
“When you come to a fork in the road, take it”
This quotation arose when Yogi Berra was giving directions to a friend coming to visit Yogi’s home. Yogi told him just take the fork in the road, since either way would lead to his house. Later in life he gave a college commencement speech where he repeated the quotation and left everyone in the audience wondering what he meant – what do you think he meant at that point?
Which U.S. state is the only one whose name can be typed on one row of keys on a U.S. standard typewriter/keyboard.
Anthony Daniels is the actor who has played C-3PO, the character that has appeared in all of the Star Wars feature films, including Rogue One, as well as the animated The Clone Wars. Daniels is both the body and voice of the droid. In the film saga, C-3PO was built by Anakin Skywalker and designed as a protocol droid, boasting he is “fluent in over six million forms of communication”. C-3PO and R2-D2 are the only characters to appear in every film (R2-D2 had a cameo appearance in Star Wars: The Force Awakens).
FYI, Kenny Baker played the role of R2-D2 in six of the eight Star Wars films released theatrically to date, serving as a consultant for the R2-D2 character in Star Wars: The Force Awakens. Sadly, suffering from a lung condition for years, he passed away in August of 2016.
Answer to the Bonus Question: George Lucas started casting calls for Star Wars with the condition that no-one from any of his previous movies could audition. Since Harrison Ford had appeared in a small role in Lucas’ second movie, American Graffiti (1973), it seemed he was out of the running. As luck would have it, Harrison Ford, who had gone back to carpentry to make a living, was hired by legendary producer Fred Roos to build a door in the offices of American Zoeotrope – where Lucas was holding casting calls. According to Roos, he secretly sought to have Ford there to ‘accidentally’ encounter Lucas. Which he did! Since he was there anyway, Lucas asked him to read lines for others who were auditioning – and as it turns out, did it better than anyone else.
Perhaps the amazing Harrison Ford just needed someone to open a door – the rest, as they say, is history.
“By three methods we may learn wisdom: First, by reflection, which is noblest; Second, by imitation, which is easiest; and third by experience, which is the most bitter.”
What character has appeared in every live action Star Wars film, including Rogue One?
Bonus Question: How did Harrison Ford land the role of Han Solo?
The word “PEZ” comes from the German word for peppermint — PfeffErminZ !! Flavors that apparently never made it to the dispensers were coffee, eucalyptus, menthol and flower.
“Being right too soon is socially unacceptable.”
A bipartisan Congressional group wants to bring the Copyright Act into the digital age of streaming with the Music Modernization Act. Somewhat unusual in the world of new legislation, the bill seems to have garnered support from music publishers, songwriters and the digital streaming services that distribute the music. The House version is H.R. 4706 and Senate version is S.2334.
While there are a number of areas the proposed legislation seeks to update, the heart of this legislation is a major change in the way streaming services pay ‘mechanical’ royalties – the commissions paid to songwriters and publishers when their musical compositions are recorded or reproduced. Currently, under Section 115 of the Copyright Act, anyone can automatically get a license to reproduce a musical composition – to get access to the song, simply file a Notice of Intention through the Copyright Office and pay a set rate. But streaming music services complain they can’t find the authors for every single song and songwriters view the music services claims as an excuse to avoid paying royalties until (and if) they are sued.
Although the new Act won’t prohibit the digital music business from negotiating license agreements directly with the copyright owners, the new Act would create a central database called the “Mechanical Licensing Collective” and instead of requiring individual “Notices,” streaming music companies could pay a blanket license fee for their on-demand, digital music services (e.g. streaming music). The ‘Collective’ would be responsible for allocating payments of these mechanical royalties, which go to songwriters and publishers when their musical compositions are recorded or reproduced, to the rightful owners. The blanket license would cover every song in the Collective’s database – a database funded by the streaming music services, but administered by the music publishers. For the digital music companies, it would eliminate the liability associated with infringement lawsuits from songwriters and publishers since now the database administrators would be responsible for identifying the owner and making sure payments are made.
Which brings us to another major change the Act would implement. Currently, the Copyright Royalty Board, sets the rates paid for mechanical licenses, based on a set of public-interest directives known as 801(b)(1) factors which are intended, in essence, to balance competing interests – availability to the public versus the disruptive effect on the parties in interest. The new Act would use a more ‘fair market value’ type system (already used to set digital radio performance royalty rates) that would be intended to more closely resemble free-market dynamics.
There are numerous other changes the legislation would make to existing licensing and royalty schemes. For example, today, the major music licensing services (e.g., ASCAP, BMI) consistently have the same 2 judges that oversee the rate courts which decide compensation for songwriters. The new legislation would eliminate that process and assign judges, as with other Federal litigation, on a randomly rotating basis. The Act would also repeal the current rule (Section 114(i)) that prevents courts from hearing certain types of evidence when considering the calculation of performance royalties – the money paid when a musical composition is broadcast on radio or otherwise publicly (e.g., elevators, health clubs, etc.).
With broad bipartisan support and industry consensus, it seems likely the the Music Modernization Act, at least in some form closely resembling the bills introduced in both the House and Senate, will become law in the current Congressional session. Stay tuned – literally!
Rimon has lawyers with decades of experience in the music industry, representing artists, as well as publishers and industry associations and if you have questions, need help or would like to know more, feel free to contact me, Joe Rosenbaum, or any of the lawyers at Rimon with whom you regularly work.