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Subject: Re: "Tristan" Recordings
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Fri, 5 Jan 2018 20:09:23 -0500
Content-Type:text/plain
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text/plain (106 lines)


Who remembers the recording ban in the 1940's?  A musicians union czar namd
Petrillo
prevented any recordings from being made by members, which included nearly
anybody who
played or sang for a living.  The Boston Symphony Orchestra, as I recall
was non-union, and
therefore exempt.  For many months, on the radio, all you could hear were
old records of
Stephen Foster songs by big stars like Bing Crosby who wasn't allowed to
make anything new.

If you are under contract to be paid a given sum by your employer  for a
given amount of work,
why should that employer be constrained from using the product of that work
as he chooses,
whether for profit or not?  Should I have expected to collect royalties all
my life from proceeds
that may or may not have stemmed from work I was hired to do?

dtmk

On Fri, Jan 5, 2018 at 12:53 PM, Kiwi <[log in to unmask]> wrote:

> Please correct me if I am wrong but I thought off air recordings were fine
> as long as they remain for personal use.  (I know this is a little bit
> apples and oranges but...)  The line is crossed, however, when the off-air
> recordings are sold because then it becomes more a contested issue of who
> owns the product:  the phantom airwaves or the house.  Obviously, in this
> case there is no question as to who is making money in the transaction and
> it isn't the artist.
>
> Obviously, in the modern age this has somewhat more resonance than in the
> good old days but do any of the modern singers object to being broadcast
> live?  I assume (?) stuff is now written into the contract that allows the
> house to do such things and everyone knows there are no royalties and such
> involved.
>
> Does anyone know how singers are treated when their operas are released
> for sale from, for example, the Met?  I imagine the stars have a different
> deal than the chorus or the musicians, but does anyone have the insider's
> knowledge of how this works in a legit effort?
>
> I have talked with some singers who despair of recordings because so few
> people actually spend $$ on physical recordings (or even downloading them)
> and because it is so easy anymore to simply take the work product from
> someone and share it across the internet.  YouTube is full of examples.  On
> the one hand, it certainly enriches us and provides an outlet for
> developing singers.  On the other hand ....
>
> I have no pony in this race.  I have off-air recordings that I treasure
> and I have had friends send me copies of performances which are more
> private (as in transferred from actual DVDs).  I do not sell or share but
> that's a personal decision and each one of us needs to find the position on
> this that is right for us.
>
>
>
>
> -----Original Message----- From: Bob Rideout
> Sent: Friday, January 05, 2018 12:34 PM
> To: [log in to unmask]
> Subject: Re: "Tristan" Recordings
>
> It has nothing to do with stature. It is the law and it applies equally
> to all who wish to invoke it. There have been a number of others, Jessye
> Norman comes to mind immediately, who had no particular gripe
> with the Met but blocked her performances as a matter of principle,
> or so she said, and I have no reason to disbelieve her.
>
> Ed Rosen was fond of saying that it was ok with such famous singers
> as Renata Tebaldi, and, and...... so there was no problem with releasing
> them. The major problem with that premise is that Tebaldi, and, and...
> didn't own the rights. The Met and other theaters did, AND Tebaldi et
> al were not the only singers on any of those performances.
>
> Do I own any? Absolutely! My musical life would be much the poorer
> without them, but the law is what it is.
>
> Bob
>
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