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About wonker

  • Rank
    DCP Veteran
  • Birthday 03/25/1965

Profile Information

  • Your Drum Corps Experience
    Flint Northern Viking Marching Band and Western Michigan University Marching Broncos - No DCI, many former DCI MM instructors - BIG FAN!
  • Your Favorite Corps
    ALL!!! But, lately have gravitated to Crown and Bluecoats.
  • Your Favorite All Time Corps Performance (Any)
    Boston Crusaders RED, Santa Clara's Phantom of the Opera, Les Mis and now Spark of Invention, Phantom Regiment's Firebird and Harmonic Journey. Crown's For the Common Good, e=mc2 and INFERNO!
  • Your Favorite Drum Corps Season
    1987 - Only because it's when I attended my first DCI Worlds! Show-wise, hard to top 2015.....but feel strongly about 2011 and 2013.
  • Gender
  • Location
    Grand Rapids, MI
  • Interests
    Golf. Music (still am concert French Hornist after 35+ years). AND, now have a 12-yr old that is my best drum corps buddy and she is determined to march DCI. Very exciying!

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135 profile views
  1. That's how I read that.......they always play their encore pieces to fill out that particular concert.
  2. That was actually the first thing I thought of when I saw the Mandarins show announcement!
  3. be afraid.......be VERY afraid?!?!?
  4. Sorry....try this instead. https://www.facebook.com/ClassicFM/videos/10154562951564260/
  5. I thought I had seen everything!
  6. Apparently, today is the day that all old threads rise from the dead?!?!?
  7. Unless someone could lock up all the necessary rights wAAAAAAy ahead of time, I would prefer we all avoid the Tim Burton music entirely.
  8. how about Please Release Hansel, Gretel?
  9. or for that matter, Enya??
  10. does U2 have any history (good or bad) with licensing rights?
  11. well.......if THAT'S all it takes............(insert history re-writes here)...........
  12. I believe that the ending to Phantom's Juliet from 2011 is the video from the Semi-Finals performance (where Juliet does NOT finish killing herself).......She only finished the deed on Finals night, however there was a problem with the angles of a couple of the shots.............so enter the Semi's ending.
  13. All good points, and I agree with your "huge" difference statement, but the huge step up to allow the audio recording and selling of the product had already been taken.....once someone takes the step from modify and perform to allow the audio recording and selling as occurred here, I am wondering why someone would then stop and not allow the video sync to occur (which is what seems to have happened here). That is what led to the cut on the video products only. The point of who actually holds which rights is probably the most logical explanation. Now, depending on profit and payouts, I see where the "next" step to allow streaming would be a separate huge step and may not be worth it to some.
  14. I asked this in a forum specific to the CD's, but will ask it here as well. I understand the multiple levels of rights needed, and I understand that the greater cost to the end user is the acquisition of the sync/mechanical/streaming rights, and I also agree that an artist/composer has every right to not have his product re-arranged or used in any manner of which he does not approve (and profit from if he so chooses). However, as in the specific case of Tim Burton and his Corpse's Bride property, what is the benefit of allowing the Academy the mechanical rights to produce, re-produce and sell the audio recording of their use of his work, but declining the sync rights that would allow the video of the exact same performance? If you didn't like what was done to your "art", why grant the mechanical rights? If you did, why not grant the sync rights? What is truly the difference in how your work was presented and preserved for the future?
  15. So, following up between this and my original question (and maybe this should be a separate forum post?)........ I understand the various levels of licensing necessary to procure, and I understand and support an artist/composer deciding against allowing the use of their product if they so chose....often claiming that anyone else's re-imagining of their work takes away from or destroys their original art or it's intent........BUT, IF you have already signed off on the rights to arrange, perform and make audio recordings of your work, what possible angle/benefit is there to the artist to then not also sign off on the sync rights? Why is it ok to allow the changes to be made to your work and for it to be performed, viewed by spectators at live performances and be recorded and released for sale in audio form, but THEN decide that no one should see it ever again after it has happened? What makes that step such a severe one? Why is having the audio product on the market and preserved for multiple uses throughout history acceptable/agreeable but a video record of the exact same thing not?? Is there any chance that the artist/composer doesn't truly understand all the various levels of licensing and what they mean? How much involvement by the artist vs. the lawyers? In the specific case of Tim Burton and his Corpse's Bride product, and I know I am asking the impossible in trying to recruit answers explaining someone else's thought process, why would it be agreeable to see the Academy arrange and perform your product, create and sell audio recordings of the end result but then draw the line at anyone being able to see the visual of the exact same performance?