Pink Floyd Lyric-user permissions, Being Interviewed by Podcasters, and a Butch Lesbian's Show
In my Sept 14 blogentry, I posted this teaser:
> Things have been simultaneously hectic and non-newsworthy for the
> most part in the land of STORY OF Q. That's a situation that just
> changed today, but I'm not quite prepared to write about today's
> developments (I think the relevant phrase is "waiting for the
> dust to settle"). Watch this space for more activity in days to
> come.
My next entry was on Oct 3, when I announced that the book deal with Ellora's Cave had fallen through. That wasn't the announcement I'd been expecting to make. The news I had been anticipating just before EC dropped their bombshell was that I was *finally* in negotiation with the relevant people for securing the rights to quote some Pink Floyd lyrics in my book.
Here's the backstory on THAT: I started pursuing that matter late last March; I went online, checking the BMI web site and finding out that Warner-Chappell managed the rights to that particular song, "In the Flesh" from side 2 of The Wall. In early May, I corresponded with them and was informed that their affiliate Alfred Music handles those matters.
Corresponded with one Gabriel Morgan at Alfred Music for an iteration or two, but then on May 23 he wrote to tell me that they no longer administer that catalog, that in fact Warner-Chappell no longer publishes any of Pink Floyd music. Apparently the contract expired and Roger Waters opted to sign on with someone else. No, they didn't know who that someone else was. I went back to the BMI web site. Still said Warner-Chappell.
Recontacted Gabriel Morgan and said they had to have had a contact person, an agent if not Roger Waters himself, and therefore whoever that person was should be able to inform them who the contract was with now. Nope, he said, because, well, actually the contract was with our UK affiliate, Warner-Tamerlane. So I go online to find contact info for Warner-Tamerlane in the UK.
By the third week of May, Warner-Tamerlane had informed me that those types of rights are handled by their affiliate, Faber Music, much like Alfred Music does for Warner-Chappell in the US I guess. I make repeated attempts to contact someone at Faber Music, culminating in correspondence with one Charlotte Mortimer, who cc's me on her communication with one Christine Cullen: "please let him know as soon as you have any further news on where the catalogue has gone?" Never heard from anyone at Warner-Tamerlane subsequent to that.
Somewhere in the midst of all this, I signed the publishing contract with Ellora's Cave. I would need the Pink Floyd permissions in order for the book to be published.
Meanwhile I had managed to track down the agent directly representing Roger Waters: Mark Fenwick Management, for whom I had only a snail-mail address. I sent a registered USPS international letter which arrived June 3. I received an email on June 7 from Louisa Morris of Mark Fenwick Management: "I am currently dealing with your request and will get back to you as soon as I can".
On 8/1 I email Louisa Morris "Just checking in" having not heard anything.
Checked the BMI website which still listed Warner-Chappell as the relevant publisher for this work. Chatted with BMI support line and they said "sometimes it takes awhile before these things get updated". Yeah, I noticed.
On 8/11 called and spoke with an assistant "Hopefully an answer by end of the week". I hadn't heard anything by 8/29 so I attempted another phone call. No answer. So I sent another email which also went unanswered.
On 8/30 spoke with Louisa Morris on the phone again: "Hopefully we'll have an answer by the end of the week". Not having heard anything by 9/6, I called and spoke with someone named "Kitty" who said Louisa Morris no longer works there, so I re-explained.
Recontacted the folks at Mark Fenwick on 9/15: they're working on it, maybe they'll have something soon...
I went on the BMI web site again and lo and behold FINALLY it lists a new publisher of record: BMG Platinum Songs US
I talk with them, they have me email a copy of the manuscript, and on 9/19 I am told by one Joe Betts that it will be passed on to Roger Waters for approval.
On November 25, I receive an email: my use of the lyrics has been approved "in principle", meaning it is OK with Roger Waters that it be used in this context. All that remains is negotiating with Hal Leonard Music, their affiliate who handles this sort of thing, and they will determine the amount I should pay and all that. I have an application pending with them, but essentially I have the important OK - I may use the lyrics as long as I pay the relevant price for doing so.
Yeesh, that was bloody exhausting.
* * *
I went to a one-woman show in Manhattan a few weeks ago. She was a black butch lesbian woman who had grown up living with her mom in the Bronx. She gave an interesting reading/acting show in which she dramatized the tension between her and her mom, much of which had to do with her rejection of the life she saw around her and her determination to get out. That rejection included a rejection of the identities "black" and "woman" and all the limitations entailed within those. She became acquainted with the East Village counterculture and rock music and avant garde theatre and the alternative gender and sexual orientation culture developing there and made her home in it, the only black person in a homeopathic white-hippie social infusion.
Later, I was engaged in dialog with a roomful of artists and dancers and musicians who had been at the show, discussing what we'd seen. Several of the other viewers complained that she didn't ever "deal with" being black. I disagreed: she had explicitly "dealt with" it by explaining how she did not identify with it, rejected it socially and culturally as an identity. On some fine-grained level you could argue that what she was saying was "even though I am black, I like this rock music, and this theatre and dance, these other cultural things and these other values, and these white countercultural folks are my choice of company". But how she experienced it personally and emotionally at the time, as how she presented it, was "This was my identity; this is who I was and have been, and my mother hated that because I was rejecting her and her identity".
That was true of her gender / sexual preference identity as well. We're a bit more accustomed to that, more exposed to it; she rejected the femininity thing, the being-a-woman thing. If she were coming of age now, she might identify as transgender; in her era, she identified as a butch, a tough masculine no-frills short-haired lesbian who dressed in what was considered men's clothing.
She identified with the white countercultural people she befriended but she did not PRESENT as white; she made no attempt to make any modifications that would cause her to be taken as ancestrally caucasian. In asserting her identity she was effectively asking us to accept that here is a person who is ancestrally and ethnically black but that her identity is other than that, that she is one of the white countercultural folks of the East Village.
That's strongly akin to what I am doing with gender. I present as male and I do not expect to be perceived as female, and yet I assert an identity that is not man, that is not masculine, but is instead a girl or woman identity.
* * *
I recognize that it's not easy for everyone to wrap their minds around that. There's a social awareness of transgender people, but I'm doing something different from what most of them are doing, I'm saying something different from what most people have heard about being transgender, and it requires processing some additional ideas and concepts.
I was interviewed yesterday evening by Dick_Wound and Minimus Maximus (aka Dick and Max) for their kinky podcast, OffTheCuffs. They were interviewing me specifically as a genderqueer person and as the author of THE STORY OF Q. Dick and Max kept apologizing for using the wrong words (they kept referring to me as someone who was "female" inside or had a "female identity") and they said it was very interesting but more than a little confusing to understand a distinction between sex and gender, to understand what it means for me to be not female but a woman. To be a male woman.
It was an interesting discussion and would have been good publicity for my book. I say "would have been" for two reasons here, the first being that between the time that we first started discussing them having me on their podcast and yesterday evening when I sat before the microphones, Ellora's Cave went belly-up, so at best it would have been good publicity for my story and my ideas and for the eventual potential book that I am determined will some day be available. The second reason is that they had technical difficulties of which we were not aware at the time, but the sound file on the computer was corrupted and unusable.
They asked me to come join them February 11th for a LIVE podcast along with other guests, so stay tuned for further details as February approaches.
--------
Index of all Blog Posts
> Things have been simultaneously hectic and non-newsworthy for the
> most part in the land of STORY OF Q. That's a situation that just
> changed today, but I'm not quite prepared to write about today's
> developments (I think the relevant phrase is "waiting for the
> dust to settle"). Watch this space for more activity in days to
> come.
My next entry was on Oct 3, when I announced that the book deal with Ellora's Cave had fallen through. That wasn't the announcement I'd been expecting to make. The news I had been anticipating just before EC dropped their bombshell was that I was *finally* in negotiation with the relevant people for securing the rights to quote some Pink Floyd lyrics in my book.
Here's the backstory on THAT: I started pursuing that matter late last March; I went online, checking the BMI web site and finding out that Warner-Chappell managed the rights to that particular song, "In the Flesh" from side 2 of The Wall. In early May, I corresponded with them and was informed that their affiliate Alfred Music handles those matters.
Corresponded with one Gabriel Morgan at Alfred Music for an iteration or two, but then on May 23 he wrote to tell me that they no longer administer that catalog, that in fact Warner-Chappell no longer publishes any of Pink Floyd music. Apparently the contract expired and Roger Waters opted to sign on with someone else. No, they didn't know who that someone else was. I went back to the BMI web site. Still said Warner-Chappell.
Recontacted Gabriel Morgan and said they had to have had a contact person, an agent if not Roger Waters himself, and therefore whoever that person was should be able to inform them who the contract was with now. Nope, he said, because, well, actually the contract was with our UK affiliate, Warner-Tamerlane. So I go online to find contact info for Warner-Tamerlane in the UK.
By the third week of May, Warner-Tamerlane had informed me that those types of rights are handled by their affiliate, Faber Music, much like Alfred Music does for Warner-Chappell in the US I guess. I make repeated attempts to contact someone at Faber Music, culminating in correspondence with one Charlotte Mortimer, who cc's me on her communication with one Christine Cullen: "please let him know as soon as you have any further news on where the catalogue has gone?" Never heard from anyone at Warner-Tamerlane subsequent to that.
Somewhere in the midst of all this, I signed the publishing contract with Ellora's Cave. I would need the Pink Floyd permissions in order for the book to be published.
Meanwhile I had managed to track down the agent directly representing Roger Waters: Mark Fenwick Management, for whom I had only a snail-mail address. I sent a registered USPS international letter which arrived June 3. I received an email on June 7 from Louisa Morris of Mark Fenwick Management: "I am currently dealing with your request and will get back to you as soon as I can".
On 8/1 I email Louisa Morris "Just checking in" having not heard anything.
Checked the BMI website which still listed Warner-Chappell as the relevant publisher for this work. Chatted with BMI support line and they said "sometimes it takes awhile before these things get updated". Yeah, I noticed.
On 8/11 called and spoke with an assistant "Hopefully an answer by end of the week". I hadn't heard anything by 8/29 so I attempted another phone call. No answer. So I sent another email which also went unanswered.
On 8/30 spoke with Louisa Morris on the phone again: "Hopefully we'll have an answer by the end of the week". Not having heard anything by 9/6, I called and spoke with someone named "Kitty" who said Louisa Morris no longer works there, so I re-explained.
Recontacted the folks at Mark Fenwick on 9/15: they're working on it, maybe they'll have something soon...
I went on the BMI web site again and lo and behold FINALLY it lists a new publisher of record: BMG Platinum Songs US
I talk with them, they have me email a copy of the manuscript, and on 9/19 I am told by one Joe Betts that it will be passed on to Roger Waters for approval.
On November 25, I receive an email: my use of the lyrics has been approved "in principle", meaning it is OK with Roger Waters that it be used in this context. All that remains is negotiating with Hal Leonard Music, their affiliate who handles this sort of thing, and they will determine the amount I should pay and all that. I have an application pending with them, but essentially I have the important OK - I may use the lyrics as long as I pay the relevant price for doing so.
Yeesh, that was bloody exhausting.
* * *
I went to a one-woman show in Manhattan a few weeks ago. She was a black butch lesbian woman who had grown up living with her mom in the Bronx. She gave an interesting reading/acting show in which she dramatized the tension between her and her mom, much of which had to do with her rejection of the life she saw around her and her determination to get out. That rejection included a rejection of the identities "black" and "woman" and all the limitations entailed within those. She became acquainted with the East Village counterculture and rock music and avant garde theatre and the alternative gender and sexual orientation culture developing there and made her home in it, the only black person in a homeopathic white-hippie social infusion.
Later, I was engaged in dialog with a roomful of artists and dancers and musicians who had been at the show, discussing what we'd seen. Several of the other viewers complained that she didn't ever "deal with" being black. I disagreed: she had explicitly "dealt with" it by explaining how she did not identify with it, rejected it socially and culturally as an identity. On some fine-grained level you could argue that what she was saying was "even though I am black, I like this rock music, and this theatre and dance, these other cultural things and these other values, and these white countercultural folks are my choice of company". But how she experienced it personally and emotionally at the time, as how she presented it, was "This was my identity; this is who I was and have been, and my mother hated that because I was rejecting her and her identity".
That was true of her gender / sexual preference identity as well. We're a bit more accustomed to that, more exposed to it; she rejected the femininity thing, the being-a-woman thing. If she were coming of age now, she might identify as transgender; in her era, she identified as a butch, a tough masculine no-frills short-haired lesbian who dressed in what was considered men's clothing.
She identified with the white countercultural people she befriended but she did not PRESENT as white; she made no attempt to make any modifications that would cause her to be taken as ancestrally caucasian. In asserting her identity she was effectively asking us to accept that here is a person who is ancestrally and ethnically black but that her identity is other than that, that she is one of the white countercultural folks of the East Village.
That's strongly akin to what I am doing with gender. I present as male and I do not expect to be perceived as female, and yet I assert an identity that is not man, that is not masculine, but is instead a girl or woman identity.
* * *
I recognize that it's not easy for everyone to wrap their minds around that. There's a social awareness of transgender people, but I'm doing something different from what most of them are doing, I'm saying something different from what most people have heard about being transgender, and it requires processing some additional ideas and concepts.
I was interviewed yesterday evening by Dick_Wound and Minimus Maximus (aka Dick and Max) for their kinky podcast, OffTheCuffs. They were interviewing me specifically as a genderqueer person and as the author of THE STORY OF Q. Dick and Max kept apologizing for using the wrong words (they kept referring to me as someone who was "female" inside or had a "female identity") and they said it was very interesting but more than a little confusing to understand a distinction between sex and gender, to understand what it means for me to be not female but a woman. To be a male woman.
It was an interesting discussion and would have been good publicity for my book. I say "would have been" for two reasons here, the first being that between the time that we first started discussing them having me on their podcast and yesterday evening when I sat before the microphones, Ellora's Cave went belly-up, so at best it would have been good publicity for my story and my ideas and for the eventual potential book that I am determined will some day be available. The second reason is that they had technical difficulties of which we were not aware at the time, but the sound file on the computer was corrupted and unusable.
They asked me to come join them February 11th for a LIVE podcast along with other guests, so stay tuned for further details as February approaches.
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