{"id":1760,"date":"2009-08-27T00:05:47","date_gmt":"2009-08-27T07:05:47","guid":{"rendered":"http:\/\/danoday.com\/blog\/?p=1760"},"modified":"2009-08-26T19:57:07","modified_gmt":"2009-08-27T02:57:07","slug":"ellie-greenwich-copyright-laws","status":"publish","type":"post","link":"https:\/\/danoday.com\/blog\/2009\/08\/ellie-greenwich-copyright-laws\/","title":{"rendered":"ELLIE GREENWICH: Thank You For The Great Songs and for Not Suing Me"},"content":{"rendered":"
\"radio

Ellie Greenwich<\/p><\/div>\n

I’m not going to write a tribute to Ellie Greenwich, because I don’t know enough about her or her body of work to do justice to either.<\/p>\n

I do, however, know more about her music than the idiot pop critic for my local newspaper, who implies that “Leader of the Pack” is a great song (it was a big hit but virtually a novelty record due to its way over the top production & performance) while dismissing “And Then He Kissed Me” as “light as a cotton.”<\/p>\n

Ask a woman who was 13 to 16 years old when “And Then He Kissed Me” was a hit how important that song was to her.<\/p>\n

And what song did that pop critic dummy omit entirely in her recounting of Greenwich’s career highlights? Only the one that truly is iconic of ’60s pop: “Da Doo Ron Ron.”<\/p>\n

The Simpsons’<\/em> Matt Groening is right: There is no lower form of intelligence than a pop music critic.<\/p>\n

But that’s not what I want to talk about.<\/p>\n

I’m here today to publicly thank Ellie Greenwich for not suing me.<\/p>\n

In 2002, the Enron scandal broke. As I read about all those people whose lives were ruined by greedy, thieving bastards who would do anything to obtain and keep their private jets and multiple mansions, I became infuriated. Livid. Filled with rage.<\/p>\n

When you’re a writer, being filled with rage often is not a bad thing. Me, I had to say something. Even if I didn’t have an audience.<\/p>\n

The idea popped into my head, I wrote it on a scrap of paper on Saturday, produced it on Sunday, and made it available to my Radio Programming Letter subscribers and website visitors on Monday.<\/p>\n

I used “Da Doo Ron Ron” as the framework. Note that I didn’t say “parody,” because it’s not a parody. Making and distributing the recording violated copyright law \u2014 no question.<\/p>\n

Huh? Don’t radio people do that all the time?<\/em><\/p>\n

Yeah, and most of the time they’re violating someone’s copyright.<\/p>\n

Here’s the short version: To qualify as a parody under the “Fair Use” doctrine, the new work must directly comment on either the original work or<\/strong> on the artist(s) who created the original work.<\/p>\n

My little protest didn’t comment on “Da Doo Ron Ron,” The Crystals, or the songwriting team of Barry & Greenwich. (Phil Spector, slimy even then, produced the record and demanded a songwriting credit, so he’s officially listed as a co-writer.) I don’t care what you’ve been told; it’s a copyright violation. Trust me. I actually wrote the book<\/a> about that topic.<\/p>\n

A short time later, a friend of mine began collaborating with Ellie Greenwich on a theatrical project. He played my little rip-off for her. I was told, to my great relief, that when she heard it she laughed.<\/p>\n

As far as I know her co-writer and former husband, Jeff Barry, never heard it. But he was a special guest at one of my PD Grad Schools, a really nice guy, and…He’d never hear it anyway.<\/p>\n

Thanks for the great (and good and, occasionally, lightweight but fun) songs, Ellie & Jeff.<\/p>\n

Meanwhile, here’s the little ditty that Ellie was kind enough to not sue me for.<\/p>\n

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I’m not going to write a tribute to Ellie Greenwich, because I don’t know enough about her or her body of work to do justice to either. 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