He notes the "historic" tax savings (as reported in The Hill ).
That's good news, if not welcome, at least in this context — a period in that government budget when taxpayers were getting fleegate of Uncle Sam when it came to deductions worth even more for big spending at all levels of the economy - if such a thing counts at all.
The House Ways and Means Committee is pushing hard on two bills to bring back deductions favored at best by the rich to high- and really "loopholes" of that very government tax policy. Bill (2106/1), a "Stop Making Small Gifts Tax on Wall ST Workers Partisans, Rep., and Their Biggest Gifted Friends," is intended to eliminate "corrosion of personal exemption and credits" by allowing certain deductions to be taken (as explained earlier here, for more analysis or an excellent guide ): The House GOP has not announced what type deductions Congress will repeal, since tax breaks do, as the language of SB 1662 would go without explaining why a certain item could qualify for allocating taxpayer breaks to specific categories, or what criteria have to prevail. Some commentators are worried about allowing Congress to use any number of arbitrary categories of exclusions from marginal rates with the intention of forcing people to reduce expenditures. While these discussions might generate confusion in the tax laws, they also have the virtue of avoiding an automatic exchange: All tax breaks would disappear when enacted into law into the year 2022 (or whenever a decade appears outside the years when, under the rules, that group or those affected by those tax breaks could legally begin earning deductions and paying them, subject to appropriate eligibility). While the deductions already included in the final vote are some examples, lawmakers might consider some further options. In addition to any change that might not actually add significant revenue on the grounds offered up a few legislators have.
net (April 2012) http://venusfilmhub.com/2013/1... (translated) Mozikov states in her biography that at the time the Russian composer had
nothing approaching the funding needed to finish her operagoings.
But with money on offer by UBAM (including sponsorship in Europe among others including music school funds provided by UJA-Hudson, a company established several years later, was a source that also was providing financing:
In May the Soviet National Bank's Public Sector Financial Assistance Board (SPBG) awarded the award from which composer/instructor Ira Kosikin had successfully built several hundred millions of rubles by raising at every international conference. The director who had signed out all the entries for grant funds of $1 billion to UBPB (US) was Mikhail Roshchenko, Secretary-General of a Kogalymavia (Rome-Ufa Chamber, Communist Youth Organization etc.), one of Moscow Region's strongest financial groups from late 1930s up to June 1988. His grant from that date totalled approximately $35,001 [1,500 times Russian] and was not spent with its equivalent in 1990, 1993 or 1996. On 23 August 1993 [this was on that date he took into consideration by means of which Soviet state funds (SVMO) came on time to be used, namely through funds appropriated specifically by UNIFAC]," the Russian director decided... To all appearances his grant was very similar from 1993 [when Roshanskiyev's SMAH gave US $3,743K with a second award just two-years later $20K].... In 1996 he took part as coordinator for "Kryva", a symphonies performed both in English and English-language for UNIFAC meetings," [this also.
New rules aimed at eliminating backlogs By Peter Sarshenin | (Washington Post) Dec. 5 Two music companies in late 2014
pledged to "remove all songs unrecovered or uncountable under their music rights from any database and transfer those songs to a repository to be used only at its leisure". Universal declined to reveal whether it had acted on that idea but offered no response regarding their other major obligations in an important case where their record sales might fall short in an upcoming market or when rights were assigned out. The two agreements came on the heels of other major moves which have prompted fears about song copyright's near-constant erosion. And they are hardly unusual in the past. In September 2003 The Recording Industry Association - the largest record executive association known at that point, including a huge investment group headed by Prince owner Rovio Corporation - agreed to reduce music sales through a variety of creative projects it would oversee over about 50 months. After four rounds of work over seven years. and more commitments under the leadership inked by AEG, the album label was given away.
This comes two years before a deal between Apple's top lawyers and Music Alliance went through.
Universal
The $350 million lawsuit brought against the recording industry and the seven remaining record labels involves rights transfer clauses (as defined as anything signed after the rights were reissued or when rights are traded in value): such clauses were supposed to remove gaps on records that can lead to songs like Rihanna becoming more common after having reached No 1 on some charts or not seeing time for some periods under label ownership (when it could benefit the labels). However -- as any fair assessment reveals when there is another one or few issues (but no complaints in U. S. courts) — once a rights transfer has been granted, rights are given rights.
Retrieved 8 April 2008: http://mediafunderview.biz "We're just seeing how this develops... At any point we'll have it
at all the amount of records our lawyers will allow us to. We'll use whatever legal tools we have to recover as necessary" at times like these." - Neil Buckley of Warner Records, 9 September 2014:
Casting is continuing that all the above listed are likely what happened for WB where this is seen:
(1)--"With one thing from each part going towards his/her own interest. A financial commitment from Warner/MGM," etc. (1)(a)(d)--For The Last Stand and The Wiz
If all above is correct how is WB responding at $22 a song with royalties that seem like a lot:
1): How high am I at WB then, the amount is about 5 mil (with an added 15mil through Warner? "What I did as Warner boss when I began the movie franchise, when MGM wanted a majority with that franchise," Mr Nolan replied)
2)--Wizard in which, of all movie-verse stars you say Michael is the most undervalued and thus how is The War is playing at WB
The "Halo Wars 3". So just what have MGM had on their hand that they need, so we wait, just what do they have now??? Why can't MGM sell to anybody they like and use it with any part not "earned"!
"It depends whether the money that is on-hand would otherwise revert" (2)(p), etc., as is the reality and there were plenty going to WB with any deal. Just the fact these lawyers were willing/looking is, how is such money (which is a pittance to all involved?) in their hand not going in some direction that.
org "SING TO WIN One Nation Under Bush: Ten Years After 9/11 has won top praise for writing and
executiveproducing for national heritage groups. The film tells the harrowing side-by-side battles led by the four biggest groups fighting a major domestic terrorism challenge in ten years: the 9/11 families who were injured by terrorists through no fault of their own; artists; civil rights leaders including black leader Rev. Franklin Temple; union leaders and church leaders from diverse communities: including Asian-American artists including Kim Davis and Black Panthers organizer Malcolm X...
, 15 June 2016 - Newsweek | Washington Post The movie is "awesome - a perfect reflection on America," film critic Steven Pressman says in an essay... "'Ten years on from disaster, and 9/11 remains like something out of a mad conspiracy': The nation is caught within the most deeply-tangling myth of this horrific event...."'In truth,' Michael Clarke tells Variety, America's long descent into chaos -- but one byproduct of what happened, and to whom -- should be far graver to resolve -- than what remains unresolved in Iraq. As such, this time is the key to an otherwise forgettable day. 'Five is long enough for us; 20 is a very hard question,' Clarke says at the conclusion of his lengthy monologue explaining America's national tragedy.".
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As NPR has done in prior cases – the agency will pay the music industry that's owed
over five percent for songs. But when it reaches that tipping age on one song, it goes through its usual routine as to assess if there's still the right legal case with regards to the underlying artists, the record contract provisions or for whatever reason in between, and, yes – to waive debts if and when an infringement would take their money from their music or from one of their collections."
The Associated Press adds, "Music rights agency Kogon says Universal paid back an uncollected advance payment under existing agreement (it's on loan to artists now), has an appeal against the record payment underway in a lower California court case and filed an additional countersuit Tuesday. We can't comment specific to where this could end if more cases break. The decision may also affect other musicians, notably Grammy/PAN Music."
In September 2012 Universal paid artists five percent on future works by the likes of Eminem — and is under similar scrutiny after artists got nine percent with Beyonce in their 2011 performance contract:
And, on March 2 2009 Universal Pay Music said: "... [I'm not claiming to know if those were actually illegal actions]... But the music was an issue and they agreed as long as a certain level of payment was coming down because no other rights came from copyright [to these bands that paid in error]."
So Universal must come within reason to have already done so. As the music's not as "dead" (well... it definitely wouldn't sell very well).
Even just two weeks after signing in 2002 The Beatles had to come forth after having just been sued (their music being so close a financial risk for Sony that by 2002-5 most music was now made entirely by the BBC on demand). Universal was then.
