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24 Cardozo Arts & Ent. L.J. 845 (2006-2007)
Identity Theft: Tribute Bands, Grand Rights, and Dramatico-Musical Performances

handle is hein.journals/caelj24 and id is 853 raw text is: IDENTITY THEFT: TRIBUTE BANDS, GRAND RIGHTS, AND DRAMATICO-MUSICAL PERFORMANCES I. WHAT IS A TRIBUTE BAND? ................................................. 847 II. THE TRIBUTE BAND INDUSTRY ............................................ 850 III. THE CURRENT SYSTEM ........................................................ 851 A. H ow Fees Are Collected ................................................... 853 1. General Licensing Venues ................................... 854 2. Concert Venues .................................................... 856 B. How Fees Are Distributed ............................................... 857 IV. TRADEMARK HARMS AND WHY TRADEMARK SOLUTIONS ARE NOT THE ANSWER ........................................................ 860 A. Analyzing a Fair Use Defense by Tribute Bands .............. 865 V. GRAND RIGHTS AND DRAMATICO-MUSICAL PERFORMANCES ................................................................... 868 A . Characters ..................................................................... 872 B . C ostum es ....................................................................... 873 C . Stage Settings ................................................................ 874 VI. POSSIBLE DEFENSES ... AND WHY THEY FAIL ...................... 875 VII. THE N EW SYSTEM ............................................................. 879 The lights dim. The crowd's anticipation rises. A voice comes over the PA system. You wanted the best. You got the best. The hottest band in the world... KISS!' The band kicks in and the lights come up. On stage, there are four men in make-up that can best be described as Kabuki-Meets-Sci-Fi. The bass player I KISS, Detroit Rock City, on ALIVE II (Casablanca Records 1977).

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