FOR IMMEDIATE RELEASE JAN 30, 2005 CONTACT: Dawn Singh 857-544-0739 [email protected]
Jazz Journalists Association Presents Jazz Matters: “Artists Copyright vs. Corporate Copyright"
The Jazz Journalists Association, a non-profit organization, will present a panel of experts who specialize in copyright issues on Wednesday, February 16, from 6-8 pm at the New School Jazz Performance Space, 55 W. 13th St. in New York. The event is free and open to the public and is the first in a series of four presentations planned for Spring, 2005.
Panelists include Gary Giddins, author of “Weatherbird" (Oxford University Press) and former jazz critic for the Village Voice; Jonny King, Copyright and Trademark Attorney, jazz musician and author of “What Jazz Is" (Walker 1997); Norman Schreiber, former Vice President of Contracts, American Society of Authors and Journalists and 25-year veteran magazine journalist; and Gail W. Boyd, President of Gail W. Boyd, P.C. and Gail Boyd Artist Management.
Ongoing developments in intellectual property law continue to highlight the debate over the rights of artists, the entertainment industry, the media and the public to gain access to and use creative works. Recent cases regarding peer-to-peer file sharing on the internet, an author's right of attribution, and the extended term of copyright protection have all touched on the sensitive allocation of rights among those who create works, those who exploit them, and those who seek to enjoy them. This panel has selected knowledgeable commentators from the legal, artistic and journalistic community to discuss the struggle to protect and encourage creative authors while guaranteeing the public access to their creative output.
Nearly 25 years ago, Martin Williams called Gary Giddins “probably the most impressive journalist ever to have written about music." Born in Brooklyn, New York, Giddins graduated from Grinnell College in Iowa, and began working as a freelance writer the following year. In 1973, he joined the Village Voice, and a year later introduced his column “Weather Bird," which he ended in December 2003, closing a 30-year run during which he received international recognition and won many prizes, including an unparalleled six ASCAP Deems Taylor Awards for Excellence in Music Criticism.
Giddins' writings on music, books, and movies have appeared in The New York Times, The New Yorker, Esquire, The Atlantic, Grand Street, The Nation, and many other publications. He presently writes music columns for Jazz Times and Tracks, and about movies for the New York Sun. His first book, “Riding on a Blue Note," appeared in 1981, and was followed by “Rhythm-a-Ning, Faces in the Crowd," and critical biographies of Charlie Parker and Louis Armstrong that he adapted into documentary films for PBS; he subsequently won a Peabody award for writing the PBS documentary, “John Hammond: From Bessie Smith to Bruce Springsteen." He won a 1987 Grammy Award for his liner notes to “Sinatra: The Voice," and was nominated on two other occasions.
In 1986, Giddins and the late pianist-composer John Lewis introduced the American Jazz Orchestra, which presented jazz repertory concerts for seven years
Jazz Journalists Association Presents Jazz Matters: “Artists Copyright vs. Corporate Copyright"
The Jazz Journalists Association, a non-profit organization, will present a panel of experts who specialize in copyright issues on Wednesday, February 16, from 6-8 pm at the New School Jazz Performance Space, 55 W. 13th St. in New York. The event is free and open to the public and is the first in a series of four presentations planned for Spring, 2005.
Panelists include Gary Giddins, author of “Weatherbird" (Oxford University Press) and former jazz critic for the Village Voice; Jonny King, Copyright and Trademark Attorney, jazz musician and author of “What Jazz Is" (Walker 1997); Norman Schreiber, former Vice President of Contracts, American Society of Authors and Journalists and 25-year veteran magazine journalist; and Gail W. Boyd, President of Gail W. Boyd, P.C. and Gail Boyd Artist Management.
Ongoing developments in intellectual property law continue to highlight the debate over the rights of artists, the entertainment industry, the media and the public to gain access to and use creative works. Recent cases regarding peer-to-peer file sharing on the internet, an author's right of attribution, and the extended term of copyright protection have all touched on the sensitive allocation of rights among those who create works, those who exploit them, and those who seek to enjoy them. This panel has selected knowledgeable commentators from the legal, artistic and journalistic community to discuss the struggle to protect and encourage creative authors while guaranteeing the public access to their creative output.
Nearly 25 years ago, Martin Williams called Gary Giddins “probably the most impressive journalist ever to have written about music." Born in Brooklyn, New York, Giddins graduated from Grinnell College in Iowa, and began working as a freelance writer the following year. In 1973, he joined the Village Voice, and a year later introduced his column “Weather Bird," which he ended in December 2003, closing a 30-year run during which he received international recognition and won many prizes, including an unparalleled six ASCAP Deems Taylor Awards for Excellence in Music Criticism.
Giddins' writings on music, books, and movies have appeared in The New York Times, The New Yorker, Esquire, The Atlantic, Grand Street, The Nation, and many other publications. He presently writes music columns for Jazz Times and Tracks, and about movies for the New York Sun. His first book, “Riding on a Blue Note," appeared in 1981, and was followed by “Rhythm-a-Ning, Faces in the Crowd," and critical biographies of Charlie Parker and Louis Armstrong that he adapted into documentary films for PBS; he subsequently won a Peabody award for writing the PBS documentary, “John Hammond: From Bessie Smith to Bruce Springsteen." He won a 1987 Grammy Award for his liner notes to “Sinatra: The Voice," and was nominated on two other occasions.
In 1986, Giddins and the late pianist-composer John Lewis introduced the American Jazz Orchestra, which presented jazz repertory concerts for seven years
For more information contact All About Jazz.
