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Court Rules Unauthorized Concert Recordings Should Stay Have Remained In “Vault”

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Court Rules Unauthorized Concert Recordings Should Stay Have Remained In “Vault”

Postby MrFredPFL » Fri May 04, 2018 10:11 pm

Story : http://www.hypebot.com/hypebot/2018/05/court-rules-unauthorized-concert-recordin





Well known concert promoter Bill Graham amassed a number of coveted recordings of iconic artists during his time working in the industry, recordings which were then streamed and made available for download thanks to a third party buyer after Graham's death. Now a court has ruled these recordings should have remained locked away.

Bill Graham was certainly one of the most well-known concert promoters of the 1960’s and 1970’s rock music scene, running the famous Fillmore concert venues in both San Francisco and New York City. He also made audio and video recordings of the bands that played his venues. Apparently, these recordings were made without getting any approvals or permissions from the performing artists.

This massive treasure trove of recordings which “reads like a veritable who’s who of rock, soul, and alternative music, containing the performances of The Rolling Stones, The Who, the Grateful Dead, Willie Nelson, Ray Charles, Aretha Franklin, and Carlos Santana, to name a few” became known as “Wolfgang’s Vault,” after Bill Graham’s childhood nickname.

For his part, Bill Graham did not commercially exploit any of these recordings during his lifetime, other than 10 instances of licensing material as a part of concert presentations, private parties and a few clips for such TV shows as VH-1’s “Behind the Music.” After Graham’s death, the entire collection was sold to Defendants William Sagan and Norton, LLC. These comprised of 276 separate recordings. At the time of sale it was carefully noted by Bill Graham Archives that they made no representations or warranties that the purchaser would be able to commercially exploit the recordings. “In purchasing those recordings, Defendants never saw any performance contracts executed by the artists authorizing the recording of those performances, nor were they made aware that such agreements existed.”







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