Ken Hatfield Speaking About Copyright – legally protecting your creations. Understanding, securing and defending the most fundamental of all artists’ rights.
Date: Tuesday, September 24th, 2019
Time: 7pm to 8:30pm
Venue: Wingspan Arts (Film Center Building, 630 9th Ave, between 44 & 45 St., Suite 602, NY, NY 10036)
Ticket: $15 (free for MFM members). No refund.
Seating: limited (up to 25 seats)
“What finally turned me into an activist for artists’ rights was the realization that no musician can afford to sit on the sidelines expecting others to fight for rights we ourselves are unwilling to defend.” Ken Hatfield
MFM Advisory Committee member Ken Hatfield will discuss what copyright is, its origins, its importance and why giant tech corporations are funding Astroturf campaigns to undermine it. He will also cover what individual artists need to do to secure and protect the ownership rights of their music under the recently passed Music Modernization Act (MMA).
About Ken Hatfield: the musician, author and activist
A leading proponent of jazz played on the classical guitar, composer KEN HATFIELD received ASCAP‘s prestigious Vanguard Award in 2006 for “innovative and distinctive music that is charting new directions in jazz.”
Ken’s the leader on 10 commercially released CDs, 9 featuring him performing his original compositions, as a soloist or with his ensembles. He’s published six books of his compositions. In 2005 Mel Bay published his comprehensive instructional book Jazz and the Classical Guitar: Theory and Application and in 2017 included two of his compositions in Contemporary Guitar Composers of the Americas.
Ken’s compositional experience ranges from jazz works for his own ensembles, to solo classical guitar works, choral works, and ballet scores for Judith Jamison, The Washington Ballet Company, and the Maurice Béjart Ballet Company, as well as scores for television and film, including Eugene Richards’ award-winning documentary but, the day came.
Ken continues to lead his own ensembles and be an in-demand sideman. In recent years he has also become an artist rights activist, serving as co-chair of the Artist Rights Caucus of Local 802 and as a member of the Advisory Committee of Musicians for Musicians (MFM). In April 2019 he participated in the United States Copyright Office’s fifth and final roundtable on reform of section 512 of the Digital Millennium Copyright Act.
MFM seeks to bring together musicians from all disciplines, styles, traditions and localities in the cause of their mutual self-betterment. Whether through education, networking or political action, MFM’s ultimate goal is to elevate the work of all musicians to the level of a true profession, one which is recognized and appropriately rewarded by the society in which they live and work. MFM additionally advocates for the creation and maintenance of a fair and sustainable musical ecosystem, one in which participants share equitably in all forms of revenue generated by their work product, whether composed, recorded, or performed live. In the final analysis, we seek to promote all conditions which benefit the musicians’ community and the music created by it, while opposing all those which do them harm.”
An evening of experimental sounds and textures with Peter Wetzler, Chris Anderson and Brian Farmer
MFM member Peter Wetzler is an award winning composer-musician-music director scoring for film, theatre and television with a uniquely diverse musical background. While classically trained in piano Peter was guest soloist with symphonies at an early age and studied conducting and composition at Princeton and the Mozarteum in Salzburg, Austria.
From Europe he moved into jazz and non-western music having played in gamelan and avante garde ensembles and writing music for post- modern choreographers such as Bill T Jones, David Dorfman and Susan Marshall and touring Europe and North America with Laura Dean. The strong rhythmic drive of his music blended with the raw experimental influence of the “downtown” New York City music scene has made his style much sought after for unique film and television scoring ranging from animation and films featured at MOMA and PBS Great Performances to National Geographic’s permanent multimedia installation in Washington DC.
Later highlights include conducting the Hudson Valley Philharmonic in a live performance of his score to Anezka Sebek’s film “Landfill” at the Hudson Valley Film Festival (along with Brian Farmer!) and Isabel Barton’s film “Julie of the Spirits” at the Woodstock Film Festival.
Peter scored his first feature film “The Warboy” in Toronto in 1984 and performed at the Music Gallery, Gladstone Hotel and Arraymusic while living in Toronto. His ensemble “The Repeatos” opened the 2007 Baltimore Jazz Festival and played in Toronto’s “Ambient Ping” series.
PETER WETZLER BIO
Wetzler has been active in the burgeoning new music scene in Kingston pioneered by Pauline Oliveros’s “Deep Listening Space” and his own church buildings that housed “The Center for Arts and Technology”. As the first recipient of Kingston’s “Distinguished Artist Award”
Peter has curated the MAD (Midtown Arts District) Summer Festival of the Arts and first met Chris Anderson when he joined the Catskill Mountain Gamelan in 2013 and wrote “First Love” for gamelan and accordion in honor of Pauline Oliveros. Wetzler and Anderson recently performed on Anderson’s homemade instruments @ The Hudson Basilica Ambient Series.
Brian Farmer is a musician and composer with a 40 year history in a diverse array of artistic and musical contexts including working and studying with roots Apala master Bisiriyu Atunrase in Ikorodu Nigeria, Musical Director for Arm of the Sea Theater, Co-Founder of world beat group FutuFutu, Drummer and percussionist with Nego Gato Afro-Brazilian Ensemble and Co-founder of Big Sky Ensemble. Since 2008 he has shifted his work to more solo and duo work with ambient and nature based music making, often combining found sound recordings, the sounds of his home farm, random electronics and a deeply detuned telecaster. He has released released multiple records on his Bodhi Bridge Music label. www.bodhibridgemusic.bandcamp.com
Chris Andersen is a musician, musical instrument maker and designer. He currently is building marimbas, various percussion instruments and experimental pieces in Kingston New York. Recently he has been working on glass instruments inspired by the work of Ernst Chladni and the French Baschet brothers. Chris also introduced the steel pan to Bali 15 years ago. He created the company Bali steel pan, which now sell their hand pan instruments internationally. www.balisteelpan.com
Musicians for Musicians and Eclectix Vol. 2 to Present an Evening of Jazz in Support of Professional Musicians
Musicians for Musicians (MFM) , a non-profit organization advocating sustainable professional career paths for musicians, and Eclectix , a new music presentation organization, will offer an evening of jazz to bring together musicians, music industry professionals and music lovers.
This music and networking event will take place on Wednesday, November 6 from 7:00 – 8;45 PM at the Zinc Bar, 82 West 3rd Street in Manhattan.
Featuring jazz master and MFM advisory board member David Liebman performing solo, as well as Eclectix Ensemble members Roger Blanc, Steve Sandberg, Michael Laderman, Nate Haselby and Ed Fast performing their own original music.
There will be a $10 cover charge and 2 drink minimum at the tables; there is no cover at the bar. FREE FOR MFM MEMBERS!
Music professionals are invited to attend as part of MFM’s effort to unify musicians of all disciplines, styles, traditions and localities. The music-loving public is invited to deepen their understanding of music’s true value to society, and to support of the social role of those musicians who earn a living from their art.
“We believe strongly that the time has come for the entire community of professional musicians to get together and advocate for themselves and their colleagues,” said MFM president Sohrab Saadat Ladjevardi. “Without unity among musicians there’s no way to communicate that music is not, cannot and should not be free. If we are to have music in our lives, we must change this expectation that has developed in the digital age.”