Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.2 9/18/84; site ccice2.UUCP Path: utzoo!linus!philabs!cmcl2!seismo!rochester!ritcv!ccice5!ccice2!pwk From: pwk@ccice2.UUCP (Paul W. Karber) Newsgroups: net.flame,net.music Subject: Re: Background music pollution Message-ID: <682@ccice2.UUCP> Date: Wed, 30-Oct-85 17:56:39 EST Article-I.D.: ccice2.682 Posted: Wed Oct 30 17:56:39 1985 Date-Received: Sun, 3-Nov-85 12:25:21 EST References: <1227@ihuxe.UUCP> <771@rduxb.UUCP> <1552@hammer.UUCP> <500@scirtp.UUCP> <5287@amdcad.UUCP> Reply-To: pwk@ccice2.UUCP (Paul W. Karber) Organization: CCI Central Engineering, Rochester, NY Lines: 17 Xref: linus net.flame:11666 net.music:8815 In article <5287@amdcad.UUCP> linda@amdcad.UUCP (Linda Seltzer) writes: >And why do none of the famous musicians complain about it? If Muzak >adapts a tune by, for example, the Beatles, or by Stevie Wonder, or by Leonard >Bernstein (West Side Story), then the composer receives a royalty not for >every tape, but for every PERFORMANCE. Each time the recording is played in >any store the composer gets a royalty. Many musicians become >quite wealthy because of the adaptations of their songs. Technical correction; When Muzak adapts a tune whoever owns the RIGHTS to that tune receives a royalty. Thus whenever Muzak plays a tune adapted from the Beatles, Michael Jackson makes money. Paul McCartney on the other hand owns the rights to all songs from West Side Story. -- Of course I could be wrong. siesmo!rochester!ccice5!ccice2!pwk (Paul W. Karber)