November 4, 2013 - It has been widely reported that the John Lennon catalog of music, Lenono and Yoko Ono Music have recently transferred administrative power of attorney in the U.S. from Universal Music Publishing Group to Downtown Music Publishing for several of the Beatle's earliest popular songs. U.S. copyright terminations and reversions of publishing rights for songs including She Loves You”, Please Please Me”, and I Saw Her Standing Thereto the deceased songwriter John Lennon's estate, reportedly made it possible for his estate to recapture Mr. Lennon's publishing rights for his share of co-written songs. Paul McCartney's share in the publishing rights were not recaptured .

The recapture of the U.S. first term copyrights is a legislative safeguard for the protection of the intellectual property of authors, widows and heirs of deceased authors who retained financial interest in their compositions, for example, Paul McCartney's company, MPL Communications acquired a catalog of music, Preview Music (owned by Berle Adams and Louis Jordan) that included the compositions of my Father, William J. Tennyson, Jr..

Because my Father, did not sell certain music compositions outright to (Preview Music), the predecessor publisher of Mr. McCartney's company, and rather because my Father hired Preview Music to publish in his behalf, and because my Father died before the end of the first term of copyright (24 years), there was a reversion of the copyright interest to the estate of my Father, Bill Tennyson, Jr..

The current claimant of the music of Bill Tennyson, Jr. is McCartney's company, MPL Communications. His company did not lawfully acquire Bill Tennyson's music shares outright lock, stock, and barrel by a sale to the publisher or predecessor, because Bill Tennyson's songwriters contracts indicate that Bill Tennyson, Jr. retained his financial interest in his music compositions. Songwriters agreements were not renewed with the predecessor publisher or with MPL Communications by the estate of William J. Tennyson, Jr., yet Paul McCartney's company MPL Communications has continued to siphon profits from the estate of Bill Tennyson, Jr., when the predecessor music publishers breached Bill Tennyson's songwriters contract years ago by not paying royalties to the heirs of Bill Tennyson, Jr..

McCartney, who appeared on the Nov 7, cover of Rolling Stone magazine this week, and in the pages within show McCartney pictured with his wife and his 9 year old daughter. This photograph made me think about the time when I had just turned 9 years old and my Father gave me a silver dollar. I was walking with my Father Bill. Then suddenly, less than a month later, my father died. After that, I remember freezing winter mornings in New York, getting ready for school, with no heat. I remember dumpster diving at the back of the supermarket for groceries. There just wasn't any money. It was being hidden.

The music publishing copyright is supported by a contract between the songwriter and the publisher, and differs from the master recording copyright which is supported by a contract between the recording artist and the record label. These contractual documents are technical and legal matters related by a licensing agreement between the music publisher or it's subcontractor and the record label, and/or between the record label and the distributor agency.


Quincy Jones (former producer and VP at Mercury Records) filed a $10 million dollar breach of contract lawsuit against Sony Music Entertainment and MJJ Productions, which he says made deals to diminish his royalties. Jones stated in the suit that some of Michael Jackson's master recordings reverted from Sony to the Jackson Record Label, whereas Sony and MJJ Productions (controlled by the Michael Jackson Estate) thereafter entered into a joint venture, “disguising” income from “master use licensing fees” as profits rather than royalties.

According to The Hollywood Reporter, (October 25, 2013 - Eriq Gardner) Jones, has demanded an accounting, alleging that the master recordings for the “Michael Jackson, This is It” project and the “Michael Jackson Cirque du Soleil” projects were remixed so as to exclude him from profiting from Michael Jackson's posthumous releases of songs including “Beat It”, “Don't Stop 'til You Get Enough”, “Thriller” and “Billy Jean”. Furthermore, Jones asserted that Sony licensed the master recordings for the “This Is It” film at a rate negotiated in disregard of the fair market rate. Jones claims that he is a third party beneficiary who is due up front and “back end” payment of royalties because of contract stipulations between Epic Records (subsidiary of Sony Music) and Michael Jackson.


Rihanna vs. Topshop

Wedlake Bell, an English group of attorneys based in London recently reported that in July of this year, Topshop, a fashion retailer was found by the English High Court to have passed off t-shirts of pop star Rhihanna, by selling them without her approval. Wedlake Bell hails this as a landmark decision in favor of the artist.

According to Wedlake Bell, in a subsequent judgment, the High Court issued a permanent injunction prohibiting Topshop from unlawful use of Rihanna's image in the future. The court also ordered Topshop to pay Rihanna's £919,000 costs. Damages are yet to be assessed by the court.

Similar U.S. legislation is the artist's “right to publicity”, whereas exploitation and profiting from the use of the image and use of the name of an artist without permission and without paying a licensing fee is cause for a lawsuit.

First Issue



News accounts on music, business, politics, celebrity and property. =================

The Free Market Royalty Act Summary: H.R.3219 — 113th Congress (2013-2014)

This bill was assigned to a congressional committee on September 30, 2013 which will consider it before sending it on to the...” There is one summary for this bill. Bill summaries are authored by CRS. Introduced in House (09/30/2013)

Free Market Royalty Act - Amends federal copyright law to provide a public performance right for all audio transmissions of sound recordings, thereby extending such right to require terrestrial AM/FM broadcast radio stations to pay royalties for non-digital audio transmissions. (Currently, a performance right for sound recordings is provided only with respect to digital transmissions by cable, satellite, and Internet radio stations.)

Eliminates statutory licensing royalty rates set by Copyright Royalty Judges (CRJs) for the public performance of sound recordings by noninteractive digital audio services.

Allows any noninteractive services performing sound recordings publicly by means of an audio transmission (including cable, satellite, Internet, and AM/FM broadcasters) to collectively negotiate royalty rates for such performances.

Designates SoundExchange, Inc. (an independent, nonprofit organization that collects and distributes royalties), or any successor entity, as the sole common agent to negotiate, agree to, pay, and receive royalty payments.

Authorizes copyright owners of sound recordings, if a license is agreed to by the common agent, to subsequently negotiate and agree to royalty rates and license terms and conditions with any noninteractive services for the performance of such sound recordings (thus allows copyright owners to opt-out of rates or conditions negotiated by the common agent and to instead negotiate direct licenses for their recordings).

Sets forth the royalty payment distributions to be made by the common agent to copyright owners, featured recording artists, and non-featured musicians and vocalists.

Establishes procedures for CRJs to set rates and terms for nonsubscription broadcasts consisting solely of noncommercial educational and cultural radio programs when such rates and terms are not negotiated and agreed upon collectively between the common agent and the noncommercial educational broadcast station.

Modifies ephemeral recording requirements (licenses to reproduce phonorecords to facilitate transmissions) to account for the removal of statutory licensing procedures.



musicFIRST Endorses, NAB Opposes 'Free Market Royalty Act'

September 30, 2013 at 12:32 PM (PT)

Indie music lobbying group MUSICFIRST COALITION has endorsed Congressman MEL WATT’s introduction of the “Free Market Royalty Act."

Public Domain Intellectual Properties and Lord Tennyson's copyrights in America

For a number of years in the United States, there has been a prolific number of publications and distributions of the writings of Alfred, Lord Tennyson. I would guess that perhaps only the Holy Bible, and the writings of William Shakespeare have enjoyed more global popularity, providing an income to those who falsely claimed to own the copyrights of Lord Tennyson. An explanation given by some American book publishers is that Lord Tennyson's writings are in the “Public Domain”, that the copyrights have expired. This however, does not give book publishers the right to reprint the books of Alfred, Lord Tennyson and put their copyright mark on it. Furthermore, there have been more interpretations, criticisms, analyses, reviews, opinions, college courses of study, and such in regard to the writings and history of Alfred, Lord Tennyson than can be counted. Throughout my lifetime, this is what I have seen to be the case, just a total ransacking of his intellectual properties. So while Lord Tennyson has obviously been held in high regard, there are many who disrespected his offspring, and profited from him. I am saying that this taking for granted of the written works of Lord Tennyson should not put my Father's work or my work in the public domain.



Let me introduce myself. My legal name is Tanya Tennyson. My birth name was Taene Tennyson. That is pronounced Tiyheen. My nickname is Ty (Tai). My penname is Tiann Tennyson. I was born in Brooklyn, and grew up in Hempstead, N.Y. I graduated from Illinois State University in 1975 with a degree in Education. Last year, in 2012, I informed my family, friends and the general public that I was appointed by the New York State Courts, in the United States of America, as the Administrator of the Estate of musician and composer, William Joseph 'Bill' Tennyson, Jr., who was my Father.



Bill Tennyson was an American musician and composer, a family man born in New Orleans in 1923, who died in New York in 1959, leaving behind a widow and four children. Bill's mother Burdette was a college graduate who died in New Orleans in 1930, during the Great Depression. His father, William Tennyson, Sr., was a multilingual who spoke Spanish, French, English and Portugese. Bill Tennyson, Sr. was a college graduate who worked as a waiter on cruise ships to Honduras, Panama, and South American destinations out of the New Orleans Erato Street port. Bill Tennyson, Jr. graduated high school in 1939 and attended Southern University for one year, studying music composition. Sometime after 1940, Bill Tennyson, Sr. remarried and relocated to Chicago, where he worked as a Pullman waiter on the Louisiana to Illinois line. Bill Tennyson, Sr. died in Cook County, Illinois in 1946.

As it turns out, there has been much work necessary to build the estate of my Father, because his Estate listed no “tangible” assets, and otherwise, a box of Bill Tennyson's heirloom documents existed, including mostly sheet music. Since 2006, I have researched the copyright assets of my Father, and have documented the history of his intellectual properties. Bill Tennyson was considered by some to be a genius, and that is because he could compose a song at the drop of a hat. He was a very sociable, happy go-lucky type of fella with talent, confidence, and plenty of friends that he helped to promote. Bill was not a shrinking violet. He liked to share his good fortune, and enjoyed introducing new artists to producers in the music business, mentoring them and helping them to hone their performance skills.

Music performance and composition were Bill Tennyson's source of income and he was proud to say that he was a professional musician and an independent businessman. Bill Tennyson, Jr. wrote a number of melodies that he sold outright, such as "Sentimental Reasons" (credited to Deek Watson and Pat Best) and "A Christmas Song" (credited to Mel Torme) however, many of his songs were owned by him and were copyrighted in his name, such as “Every Man To His Own Profession” and ”It's a Great, Great Pleasure”.

At the time of his death in 1959, Bill Tennyson, Jr. was a member of the American Society of Composers, Authors, and Publishers (ASCAP), and he was a member of the Knights of Columbus at Our Lady of Loretto Church in New York. Representatives and attorneys were sent by the Catholic church to assist my Mother in preparing for his funeral, and to establish my Father's estate at the Surrogates' Court. A copyright was filed for my Father's composition, “Someone”. The day after my Father's death, ASCAP sent representatives to express sympathy for the loss of my Father, and to help the widow, my Mother, to document the ASCAP successors of composer, William J. Tennyson, Jr. for purposes of distributing his royalties. In 2006, I was able to recover the ASCAP registration documents for the successors of Bill Tennyson, Jr. from ASCAP Estates and Claims. As guardian of four minor children, my Mother was named successor of my Father, but technically accommodations were never made by ASCAP to distribute royalties to the other successors of William J. Tennyson, Jr..

The copyright documents of my Father, Bill Tennyson, Jr. establish his personal legacy in music, and his property rights, which I am honored to be one of the beneficiaries of. Because I have never received any financial distribution from the earnings of my Father's music, because I had no idea of the extent of my Father's repertoire of songs, and because other music publishers exploited my Father's music and deprived me of the royalty income since 1959, my recent research and documentary evidence puts me in the controversial position where I would be remiss if I did not complain that I have been at the center of political conspiracies all my life.

The political situations pretty much abstract, controlled sometimes byhidden people watching, sometimes by people in the family, situations with under-currents of itntrigue, presumptions, embezzlement, secret dealmaking, slander, shadows going about in the background, whispers, glass ceilings and exclusions by people who knew more about my Father than I did.




Why do I believe my Father, Bill Tennyson, Jr., (1923-1959) was direct descendant of Alfred, Lord Tennyson (1809-1892), (England's poet laureate during the reign of Queen Victoria)?


In the banner above are photographs of Alfred, Lord Tennyson, and of my Father, William Joseph 'Bill' Tennyson, Jr.. If anyone might hypothetically have led a “Little Lord Fauntleroy” life, it could have been my Father, 'Bill' Tennyson. There were however, strange twists, deviating away from the “Little Lord Fauntleroy” story plot. One of the deviations involved the mystery of the incomplete estate settlement and the will of Second Baron Hallam Lord Tennyson, (1852-1928) well decorated Governor of South Australia (1899-1902), Governor-General of Australia(1903-1904), and son of Baron Alfred, Lord Tennyson.

The Second Baron Hallam Tennyson's Aldworth Estate properties in Surrey, County of Sussex, England were willed to his son, (Third Baron) Lionel Tennyson, (1889-1951), while Hallam, Lord Tennyson's Farringford Estate at Freshwater, on the Isle of Wight, U.K. was hypothetically put into a trust after the Second Baron Hallam Tennyson died in 1928. This management of Hallam Tennyson's assets did not occuraccording to design.


In paragraph 1 of his will, Hallam Baron Tennyson appointed Walter Charles Alan Ker, Charles Bruce Locker Tennyson (nephew), and William Butler Wasbrough, Esq. as the EXECUTORS and Trustees of his will for the purposes of the Settled Land Act 1925 and for the purposes of Section 102 of such Act, a conveyancing device used by a property owner to ensure that future generations of his family are provided for.