Your Online Video May Cost You Thousands

Your Online Video May Cost You Thousands

Youve just gotten married, and are traveling the world with your new spouse on your honeymoon. A good friend who filmed the wedding and reception has just finished putting together the footage. He has posted it on YouTube so you both can relive your wedding day on your honeymoon.

The video is wonderful. It illuminates several moments youd missed in the excitement of the day. Your friend has even included your song, Endless Love, as the background music for the video.

After the honeymoon, as you unpack the doorbell rings. Opening the door you find a man asking for your signature for a package. You think, "Which aunt or uncle must be sending money"? When the deliveryman smiles, hands you the package and says, "Youve been served." you are surprise and horrified.

Confused, you tear the package open to find a lawsuit for $10,000 for copyright infringement. You wonder to yourself--could this be right? How did I infringe any copyrights? Out of curiosity you scan the pages of the lawsuit for a logical explanation. Then you find it: "the illegal use of Endless Love by Lionel Ritchie and Diana Ross in your wedding video posted on YouTube".

With all the attention YouTube has gotten from the Viacom lawsuit for $1 billion for unauthorized distribution and infringe of copyright laws, everyone has overlooked a possible next wave of lawsuits to come. Those are for the vast majority of online videos that are made by small home videographers who have included music in their videos that has not been licensed for use.

Typically music publishers and record labels have turned a blind eye to home and wedding videographers who produce their own work. Shared with an audience of usually less then 10 close personal friends and family, these home videographers have all but been ignored for years. This was before sites like You Tube, Google Video, ChickShack, AsSeenInVT and a handful of others began creating an outlet for anyone with a video camera. Now home videographers need to be warned. You may soon find yourself involved in lawsuits for illegal use of a copyrighted protected musical recording, the fines for which could be in excess of $15,000 per song.

Remember how fiercely the recording industry went after everyone from children to old ladies who downloaded songs from sites like Napster? It may be only a matter of time until they start going after videographers in the same manner.
Most home videographers are unaware of the limitations on using copyright protected music. The vast number of home Videographers wrongly assume that they can synchronize or place any music they want in their video production. In the past, a small home and wedding Videographer would usually get away with this. The problem is these wannabee Quentin Tarantinos have now begun distributing their productions to more then just a few friends and family. A video loaded online has the potential market of hundreds of thousands, or even millions, of viewers, and if youve created something popular using YouTube, you may be the next victim.

Local TV stations in America can pay tens of thousands of dollars for licensing music for their stations. This price can go into the millions if they desire to use popular artists songs.

For Videographers who have uploaded productions onto sites like YouTube and are now nervous, let me educate you a bit on how licensing works.

Simply put, copyright laws state that any music under copyright protection may not be used for any kind of video production, media presentation, websites, etc--that is, without approval from the copyright owner. Several types of licenses are usually required. These may include some or all of the following: Synchronization, Performance and Master licenses.

Now before you stress over the fact that no one will see your masterpiece or that big the bad RIAA is coming to get you -- there is a solution. First, you must remove the copyrighted music you have in your videos. Then you have the option to either write your own music for your video (most of us are not musically creative enough to go this route) - or license music from an Online Production Music Library.

Online Production Music Libraries typically lease music from their catalogs on either an individual per use basis, called a drop, or blanket licenses that will cover an entire project. The advantages of online production music libraries are the scope, depth and breadth of the catalogs. Pricing ranges greatly, depending on many variables.

Most production libraries do not create music specifically for amateur videographers, but Recently, an L.A. based production music library called TunEdge Music announced it would give special licensing for web distribution. TunEdge Music is providing access to their online catalog and for a reasonable fee their music can be licensed specifically for online creations.

Diana Ross fan Betsy Schroeder "REMEMBER"

> This is devastating. I, too, met Betsy and her sister in Monaco,
> and on
> September 10, 2001, as if the universe were sending me strength for
> what
> was to come the next day, Betsy arrived in San Francisco to give me
> and
> a friend backstage passes to a private concert Diana did for Bank of
> America employees. After the show, she and I accompanied Diana's band
> to the Palace Hotel where in perfect innocence we toasted the last few
> hours of the world as we knew it. Betsy was with me only twice, but
> they were the two best, most sustaining times I have known, and they
> shine more brightly in my memory for her having been there. We all
> have
> many things for which we are grateful to Miss Ross, but the
> friendships
> -- some brief and sparkling, some enduring and deep, all profoundly
> cherished * born and blooming within the sound of that silken voice,
> it is for those friendships that I am most grateful.
>
> Today I shared my slim portion of Betsy's life with the students in
> the
> high school where I teach. I told them about her gifts, how she hated
> Mahogony because it meant the show was nearly over, how she preferred
> Diana solo to the Supremes, that she had a remix of "Love Hangover"
> that
> I'd never heard, that she was more down to earth than most of us, but
> relentless where Miss Ross is concerned. They were visibly moved, and
> we decided to dedicate the day's classes to her, and to honor her
> with a
> song. Monday, I will wear my backstage pass to school, as I do every
> September 10, but this year I wear it for Betsy.
>
> My deep sympathy to Betsy's family, and love to all,
>
> Joseph Hill

A review Betsy Schroeder wrote in June 2004, after the Diana Ross Greenwich concert.

Betsy Schroeder passed away at August 22nd 2007, here a review she wrote in 2004!!
In memoriam on www.dianarossfanclub.net

I had such a wonderful Thursday afternoon & evening in Greenwich with our lovely Ms Ross! Now you know that when you put me with Diana Ross & traveling, there is going to be some adventure with it, so be patient...I'll eventually get to the show!!!

It all started Tues when I sat at myg computer & read a WONDERFUL post with a link to the Greenwich Times–free concert in Greenwich Thur pm. Before I even finished reading the story, I was checking out airfare, mostly to convince myself that OF COURSE I can't go 3000 miles to Greenwich the next day. SURPRISE!!! I find an affordable flight, & all of the sudden I was seriously thinking about going. It's never that simple, though. A little background...I have been very ill for the past 2 years (since the LAST Ross US "tour" which I was fortunate enough to attend :-).

I am MUCH, MUCH better now, but I am confined to a wheelchair, have residual visual impairment, etc... and require a care giver. I was able to talk my reluctant care giver into going with me (doubling airfare...ughhh!), find an available hotel, determine that the Greenwich train station is not really wheelchair accessible, rent a car, convince my care giver that traffic would be no worse in NYC at the times we would be driving than it is in Seattle's rush hour so of course she could drive, pack, & reschedule my dialysis for 6:00 the next morning, but uh oh, all of this started ~ 10:00 pm so it was a little late to find someone to stop in & see the kittens (Malea & Sharaya :-) that I had just gotten that day. I gambled that this would not be a problem & purchased our tickets with my fingers
crossed.

After an all too brief sleep with kittens nearby, I headed for dialysis where I cancelled my PT, other home health care, etc...Then we headed directly to the airport, where we discovered that mycare giver had not brought my bag...I would have found a way to deal with not having my life sustaining medications, but I couldn't get on the plane without an ID!!!!! This is why one must always plan to complete travel the day BEFORE the concert. I learned that the hard way with RTL in Philly, remember that? The show that I DIDN'T get to attend despite having an EXCELLENT seat! Fortunately, the red-eye flight was available. It was only more money...but at this point I was already so deep into the idea of this show both financially & emotionally...what's a little more $$$, right? So back home we went.

Several hours later we headed back to the airport, with my having run through a checklist with my care giver (because clearly the written list I had given my care giver wasn't enough). I saw all of my stuff & ran through her stuff verbally, sight unseen. Oops!!! Big mistake!!More later...

We ultimately arrived at LGA ~9:00 am & went to the rental car place. Did you guys know that those big rental car buses lower for wheelchairs? The whole bus! Very cool! Then we discovered that my care giver didn't bring her drivers license. I couldn't believe it!

I had specifically asked her if she had her license before we left. I was livid!!!!But a solution must be found, so we hired car. It's just more $, right??? So this relatively cheap trip was starting to add up. It was ok, though, because the end point was Diana :-).

We arrived in Greenwich, where the driver couldn't find the park, nor could anyone he asked help out. I told him what little I knew from the newspaper reports, which he felt the need to ignore, but I was too tired to care, having had only ~4 hrs sleep in the previous 2 nights. We had a brief tour of Greenwich's "back
woods," where Greenwich's not-so-wealthy live ;-).

I hadn't been to Greenwich in ~15 yrs & forgotten how beautiful it is, but business district traffic has worsened significantly. FINALLY when I asked someone where Diana Ross would be that night instead of using the park's name we got some decent directions. He dropped us off ~12:00 & we planned to spend the afternoon in the park, but they wouldn't let us in: "The park is closed until 6:00." I didn't completely believe that, but I knew that we would be able to see the show if we came
back a little later. Next task: finding a cab to take us to our hotel. No problem: the train station is a couple of blocks away.

Well, of course it wasn't that simple. The sidewalk was not wheelchair friendly, & the train station & cabs were up either a huge flight os stairs or an incredibly long, steep ramp. We ultimately got a cab & found our hotel. We had a couple of hours to eat & sleep before returning to the park for the sound check. I really needed to sleep, but I didn't trust myself to get up, & I was NOT going to miss this show!!!

We headed back to the park in time for the sound check, which was actually better than the show. Diana was a vision in white. She wore a fitted white top with 3/4 length sleeves. It almost looked like a leopard & emphasized her tiny (again) waist. Her skirt was unique, looking somewhat like curtains, but she pulled it off. She had a redish scarf around her neck that she played with a lot, using it as a wrap (it looked like it had been folded into a square & retained it's creases!!!). She wore heels, but I couldn't see if they were pumps or sandals, & her hair was loose until she finished and put on one of her enormous black headbands.

She was gorgeous even without her stage makeup. Through most of the sound check she sat facing the band, but she did occasionally sing to the scant crowd that was kept
REALLY far away by fences & security guards (they were really nice & helpful, even though their job was to maintain distance between me & the stage). Thank goodness for binoculars! Diana was there for close to 2 hours. Highlights for me were The Boss, WYTMTYLM, which she did NOT sing in the actual concert, & I Will Survive, just because she was silly during the first few lines, being really dramatic. She was SOOOO CUTE!!!!

It was ~6:00 when the sound check was over. They opened the park a little more so we could move closer to the stage, but we still were ~ a million miles from the stage. Everything closer was reserved for residents of Greenwich. The area closest to the stage was reserved for paying residents: $1,000 for the 1st row, $750 2nd row, $500 3rd row, & $250 for seats beyond that. The next section was cordoned off for 1,000 Greenwich residents, That meant there were ~1400 people in front of me. Somehow it just doesn't seem right not to incorporate "fanhood" & distance traveled in seat
assignments if people are to be excluded from certain seats.

That's been an issue at a lot of her shows lately...I'm not liking that one bit, but I am really happy to have something to fret about if it means that our girl is out there strutting her stuff! Obviously, we stayed to maintain our position, as unsatisfactory as it was. Then, the wheelchair, which had been such a burden the whole trip, worked to my advantage & I was able to get wristbands for the 2nd tier
seating!!!Ultimately, It didn't really matter because the 1st tier people all stood up in front of us so I could only occasionally see Ms Ross's head (but what a beautiful sight that was when visible!).

The crowd was very odd. As far as I could tell, there were VERY FEW fans there. Most people around me thought they would "just stop by & see what this was all about."The crowd was very homogenous...men were tanned wearing polo shirts & sunglasses. They all had the same haircut as well. They all had families with them, & the kids & wives
all looked alike. This was the original "Stepford." Everyone was discussing Ms Ross's age (they all underestimated it) & talked about how great she looked. Some of Evan's schoolmates were near us & said he had done some modeling as well as singing & dancing. There was no other gossip to speak of.

At ~8:30, the show started. The set list was similar to the European shows with a few differences. She opened with I'm Coming Out & didn't sing TMH. Also missing were Remember Me :-(, WYTMTYLM :-(,Missing You, Best Years (!), & I'm Still Waiting. The LST B segment was limited to Fine & Mellow and Don't Explain (I'm so glad! :-).

The Supremes songs were sung in their entirety, which still throws me off because I really only know the medley versions :-P. She did NOT sing YKMHO, but she used the ROCKIN' arrangement of Love Child that was used in Europe. Mirror, Mirror is back as it was in Europe (still wondering what happened in Houston). Endless Love no longer
features one of the background singers, which works for me since to me that will always be Quintin's song. Before the song, she asked if we remembered the song, stating she'd been away so long she didn't know if people remembered. That kind of freaked me out because she was stating this about a song that I DO remember (usually this is asked about songs that were released before I was born). She made 2 or 3 costume changes, but I could only see colors (pink then red then white) and then I couldn't see anything.

She very briefly mentioned the Teen Center that was benefitting from the concert, but
she did nothing else to indicate that she was performing ~1 mile from home. I was hoping for more intimacy or something, but there was a lot more interaction with the audience at other shows. The audience seems to be very important in the overall quality of a Ross performance, with shows such as Paris, Ahoy, MSG, & Westbury clearly outshining other shows that I've attended. This audience was flat, average, & so was the show relative to other Ross shows. She seemed to be in good spirits and shined as gloriously as usual.

Understanding that Diana Ross is ALWAYS spectacular on stage, there
was nothing special about this show

Of note, Evan sang Overjoyed with Rhonda & Rodney backing hin up. He has a lovely voice, but the poor guy was off key for the whole song. I've been watching too much American Idol because I kept hearing Simon saying, "You didn't hit a single note!" I suspect it was just anxiety, for he's probably never sung before such a large crowd.
He's got a lot of potential, but he didn't hit it on Thur.

The show was ~1½-2 hours without intermission. The residents of Greenwich who coughed up money for the reception went to meet their neighbor. I went to my hotel for another night of inadequate sleep due to a 6:00 am flight back to Seattle (which was pretty uneventful :-). I chose not to pursue the reception or Ms Ross's
coming or going from it...I've met her several times before, was really tired & limited by the wheelchair, & knew that with 400 people attending the reception I wouldn't have an opportunity to TALK to Diana. Maybe next time.

It was a very hectic 48 hours, but I'm so glad I pulled it off. I am a firm believer in pursuing things that make you happy, and Diana Ross shows are #1 on my list. She makes my life better, & I need a live fix now & then. I'm so blessed to be able to get one. Our girl is back!!!!!!!

CLASSIC DIVA DIANA ROSS LIGHTS UP HAMPTONS WITH PRIVATE PERFORMANCE

(Hollywood, FL) -- Shining through Saturday's Southampton fog, legendary artist and performer Diana Ross gave 500 thrilled guests a 75-minute private performance, taking them on a trip down memory lane and truly providing them with An Evening Under the Stars to remember. Generously underwritten by Jill Viner and Cliff Viner, the extravagant affair held on August 25 raised more than $550,000 for the Diabetes Research Institute (DRI.) On the grounds of Stony Brook Southampton, Miami-based event virtuoso Barton G. conceptualized, designed and catered THE event of the summer, magically transforming a 20,000-square-foot tent into a lux supper club.

"In my wildest dreams, the event couldn't have been more perfect," hostess Jill Viner said. "The warmth from Diana Ross was such a gift, and the most significant part of the evening was that we all had a common bond and that we were all there with the same goal in mind, to find a cure for diabetes."

During the dinner program, DRI Scientific Director Camillo Ricordi, M.D., addressed the audience, extending sincere gratitude to the Viners and everyone in attendance for their support of the DRI, and emphasizing that the Institute's focus is to cure diabetes in the fastest, safest and most efficient way possible.

Even Ross, herself has had a personal interest in seeing a cure for this devastating disease ever since her father was struck with it. "I am really, really interested in what you are doing," she told the audience.
Ross gave an awe-inspiring performance. Beginning with a slow crescendo from her band, she belted out I'm Coming Out as she emerged from behind curtains, continuing the song with a sparkling smile and the first of three gown changes - a glittering red gown and ruffled wrap. Cheering guests leapt to their feet and began singing along and dancing between tables. Ross regaled her excited fans with 17 of her classic tunes, including "Baby Love," "Stop in the Name of Love," and "Ain't No Mountain High Enough," and in no time, the dance floor in front of the stage was packed with grooving fans.

In the equally enchanting hours preceding the concert, guests first climbed a massive, white carpeted staircase. As glass doors were opened, they entered a cocktail reception where champagne flowed freely and elegant bars in all four corners offered other libations. Creative hors d'oeuvres, such as Asian duck-filled pancakes, mini Chesapeake crab burgers, and ice seared tuna and salmon with lime chili dip, were passed on artful serving platters.

Huge wooden doors separated the cocktail reception from the main event, and when opened, revealed the ballroom's brilliant decor, highlighted by soft colored lighting and wood panel. Fresh roses and orchids adorned each table, encircling the stems of cylindrical-shaded lamps, which changed settings with the touch of a petal.

Dinner began with three huge shrimp and a trio of colorful sauces, followed by grilled New York strip steak with a delectable peppercorn sauce. Desserts included the options of Shake and Cake, a vanilla milk shake in a martini glass with chocolate chip cookie rim and a slice of chocolate layer cake, or a Mini Sundae Trio.

After the main event, a select group of lead sponsors and other VIPs attended an elegant After Party, where they had the rare opportunity to meet and be photographed with Diana Ross herself.

Top sponsors included: Martin Granowitz, President and Owner of Bearings Limited; Rosa and Francis Feeney; Mr. Warren Mosler & Ms. Elizabeth O'Tool; Mr. Sanjiv Sharma & Ms. Nadine Allen; Mr. Paul Singer & Ms. Bonnie Loeb; Roberta and Bruce Waller, Bonnie and Jamie Schaefer, and Marla and Steve Weishoff: in proud recognition of The Rowland & Sylvia Schaefer Family Foundation, Inc.; Brian and Cheryl Coughlin; Mr. Ed & Mrs. Holli Gersh; Marc and Esther Goodman; Kovler Family Foundation; Pernod Ricard USA Champagne & Wines - Brancott Vineyards, Perrier-Jouet, Sandeman(R), and Ysios; Mr. Robert and Mrs. Hiromi Printz; Risa and Jeff Pulver; Randi and Mark Jacobson Charitable Foundation; Neomi and Michael Dezer and Leslie and Ricardo Salmon; Mr. Richard Schwartz & Ms. Marta Aislant; Holly and David Sherr; University of Miami Leonard M. Miller School of Medicine; Hampton Style/Dan's Papers, Hamptons.com , and Wine Spectator.

The Diabetes Research Institute, a center of excellence at the University of Miami Miller School of Medicine, is a recognized world leader in cure-focused research. Since its inception in the early 1970s, the DRI has made significant contributions to the field of diabetes research, pioneering many of the techniques used in islet transplantation. From innovations in islet isolation and transplant procedures to advances in cell biology and immunology, the DRI is now harnessing the power of emerging technologies to develop new cell-based therapies to restore insulin production. For the millions of families already affected by diabetes who are looking to the world of science for answers, the Diabetes Research Institute is the best hope for a cure. For more information, visit www.diabetesresearch.org or call (800) 321-3437.

Founded in 1994 by Barton G. Weiss as an events production company, Barton G. quickly emerged as an international leader in the industry. Today, the company has expanded to include Barton G. The Restaurant, one of South Beach's most desirable dining destinations, off-premise catering, exclusive venues and destination management services. Always, the Barton G. signature is characterized by the delivery of memorable multi-sensory experiences. For more information about Barton G., visit www.bartong.com or call (305) 576-8888.

The Supremes Singer's Biographer Writes A Third, More Sympathetic Book about Diana Ross

Diana Ross Revisited
The Supremes Singer's Biographer Writes A Third, More Sympathetic Book


NEW YORK, Sept. 4, 2007

"Diana Ross: A Biography" by J. Randy Taraborrelli takes a more
sympathetic look at the singer's life. (Citadel)

(CBS) Diana Ross is known as much for her unique voice as for her
diva attitude.

Ross first made her name with the Supremes -- the real Dreamgirls --
in the 1960s. Forty years later, she is still a force in the music
business, despite some well-publicized arrests and other incidents.

The recently released book "Diana Ross: A Biography" by J. Randy
Taraborrelli provides an extensive chronicle of the singer's life.

Taraborrelli has been a fan of Ross since he was 12 and founded the
first Supremes international fan club. He wrote two other books about
Ross, but says his third book is much more sympathetic.

"This was a great opportunity for me to take a look at her sort of as
an adult," he told The Early Show co-anchor Julie Chen. "My last book
came out 18 years ago. Since that time, I've written about Elizabeth
Taylor, Grace Kelly, Madonna and, you know, Michael Jackson. It was
an opportunity for me to take a look at Diana from a new perspective.
I looked back and looked at my old interviews with her. Interviews
with her father, her mother, the other Supremes and put into context
her entire life."

He first interviewed Ross when she was 26 and now she is 63.
Taraborrelli said she has changed a great deal over the years and
this book takes the most balanced look at her life. Now he defends
Ross's famed diva behavior because he says it stemmed from fear.

"When she left Motown, in 1980, she did not leave a wealthy woman,"
he said. "She says she had to pay her taxes by borrowing money at
that time in her life. And by that time, she had 18 No. 1 records at
Motown. And it's not to say that Motown didn't pay her the money she
deserved, it's to say that it wasn't very much money. So when she
left the company in the 1980s, she began her own business and she
really didn't know what she was doing and I think a lot of that diva
behavior we heard about in the 1980s and early 1990s came from her
insecurity and fear that she wanted to make sure that she would never
end up in that place again in her life."

Ross has been accused of treating people badly -- especially her
fellow Supremes. But through his research, Taraborrelli said he found
that Ross behaved very selflessly at times. He learned that Ross was
the only person who helped former Supreme Florence Ballard when she
needed money. Ballard died at the age of 32.

"There were many times over the years I wanted to pull Diana aside
and say, 'Listen, you need to defend yourself about these
accusations. You have a point of view. You need to tell it,' " said
Taraborrelli, who used to work as a publicist for the
Supremes. "She's never been the kind of a woman to set the record
straight. She's always been the kind of woman to just keep her eye on
the prize, on her career, and just move forward and not really
respond to criticism. So with this book, I wanted to take a look at
it from her point of view. And I think that it's an interesting way
to go for a biography and for a third book."

Even though he took a sympathetic look at the singer, Taraborrelli
said she didn't collaborate with him because she wasn't very pleased
with his last book, "Call Me Miss Ross," which came out 18 years ago.

Although she has had many hits as a solo artist, Ross and the
Supremes attempted a reunion tour in 2000. It was cut short.
Taraborrelli said Ross and other original Supreme Mary Wilson were
not able to see eye to eye about money so Ross recruited two other
women who worked with the Supremes in the 1970s after Ross had left.
The tour shut down due to poor ticket sales.

"I flew back with the Supremes after closing night. I was able to
find that Diana was devastated by that turn of events," Taraborrelli
said. "The public felt she was trying to force on them a reunion that
was not legitimate. And it really hurt her career."

But last year, Ross came out with her 70th album and it was the top-
selling album on the Billboard charts the week it came out. But
Taraborrelli says the singer's future is bright.

"Forty-five years of a career of ups and downs and she's really a
survivor, you know?" he said. "She survived three books by me so that
tells you something."

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