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

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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