The music world suffered an incalculable loss after the untimely passing of Steve Gordon, Esq.
Gordon graduated from SUNY Binghamton, in 1987, earning a B.A. (with Honors), New York University School of Law, J.D. in 1981, and earned a French Language Certificate from the University of Paris in 1982.
From 1981 to 1983 he served as a law clerk in the Appellate Division of the NYS Supreme Court, ( the second highest court in the New York State judicial system). 1983 to 1984 saw him employed as a Music Attorney by Dino Di Laurentis in Beverly Hills, CA, where he negotiated and drafted soundtrack recording agreements and contracts with composers for this Hollywood movie studio. Gordon served as a SESAC Senior Counsel between 1985 and1990. He handled the licensing of music for public performance on radio, television, cable, nightclubs, arenas, amusement parks, and background music services in the United States and throughout the world. From 1990 to 1991 he worked as an Associate with Mayer Katz Baker & Liebowitz, where he negotiated and drafted recording agreement for Elektra and Atlantic Records and recording artists including In Excess, Billy Idol and Boy George.
Please send/forward this request to your Senators and to any and all family, friends and colleagues you deem appropriate and request that they in turn also send it to their Senators and to any and all family, friends and colleagues etc. they deem appropriate ….. as well. As time is of great importance here please act promptly, delay could spell the death of this helpful legislation.
Copy and paste this message marked in green below and send it to your senators.
The U.S. House of Representatives embraced music licensing reform, and supported the efforts to update the US’ antiquated copyright laws.
The new Senate bill combines three separate pieces of legislation: 1. The Music Modernization Act of 2018 (S.2334, introduced by Senator Orrin Hatch (R-UT) and Senator Lamar Alexander (R-TN) in January, which updates licensing and royalties as pertains to streaming). 2. The CLASSICS Act (or Compensating Legacy Artists for their Songs, Service, & Important Contributions to Society Act, introduced in February by Chris Coons (D-DE) and John Kennedy (R-LA) to ensure that songwriters and artists receive royalties on pre-1972 songs). 3. The AMP Act (or Allocation for Music Producers Act, introduced in March by Senate Judiciary Committee Chairman Chuck Grassley (R-LA) and ranking committee member Dianne Feinstein (D-CA.) with the support of and Senators Bob Corker (R-TN) and Kamala Harris (D-CA).
Text by Dawoud Kringle and Photos by Sohrab Saadat Ladjevardi
On Monday, November 20th MFM hosted an experimental gathering. MFM founder Sohrab Saadat Ladjevardi, and jazz legend Billy Harper organized a jazz musician meeting at Yeoryia Studios in Manhattan’s Upper West Side. Billy Harper was, of course, the keynote speaker.
The meeting was not well attended. Many of the over two dozen musicians who were personally invited by Saadat had the good manners to personally inform him that they could not attend (among them were Joe Lovano, Ron Carter, Randy Brecker, and Ray Blue). It is a regrettable thing, because some relevant and fascinating issues were brought up for discussion.
One of these was the question many musicians ask: is jazz dead? The answer is a decisive and intractable “No.” but there are difficulties that jazz must overcome. The struggles of jazz musicians – and all music professionals – have been beset by an ever changing set of circumstances and factors on the business and technological realities of the music business- all of which affects the public zeitgeist regarding jazz. Harper pointed out that every 10 years somebody propagates that jazz is dead as a way to get some attention for jazz music. There is truth to this; and perhaps serves to kick jazz musicians and audiences out of their complacency. Some people, musicians included, have a tendency to treat jazz as a “museum music:” i.e. they freeze it into a classical form, and resist its natural and organic nature to evolve. There is also they tendency of the corporatocracy to deliberately resist the prosperity and vibrancy of jazz. The reason for this is simple; the “dumbing down” of the audiences generates greater profits over a shorter period of time. The recent developments in computer based music technology facilitate these phenomenons – and also facilitate the opposition to the degeneration of musical and artistic sublimity and meaning.
My name is Christopher Drapeau, I’m a heavy metal, hardcore, and punk rock guitar player, a solo composer and songwriter, and a member of Musicians For Musicians. MFM is a non-profit organization advocating for the rights and interests of professional musicians. Our goal is spreading the idea that #MakingMusicIsAProfession. My involvement started after moving to New York City and starting to establish myself as a working musician. My career has always had a DIYbackbone, and it is a very important ethic to uphold as a musician to be successful in my opinion; and MFM stands for that 100%.