Best Blogs For Women Working In Film and Television

Wonder Woman, Warner Brothers new action-adventure blockbuster based on the DC Comics superhero,  earned over $100 million in its opening weekend in the US and Canada.  Worldwide sales totaled over $225 million.  The movie is getting a lot of attention. Not only does it feature a strong female lead role, a rarity in an action adventure movie, the weekend box office totals set a record for a female-directed feature film.

Director, Patty Jenkins’ success with Wonder Woman has renewed conversation about how few female directors get hired in Hollywood.

Not only do women struggle to be taken seriously as would-be directors of male-driven pictures, they aren’t even considered reasonable picks for female-driven dramas, comedies and fantasies. Both Sex and the City movies, all three Divergent films, all four Hunger Games movies and the majority of female-driven comedies you can think of offhand (The Other Woman, The Ugly Truth, etc.) were directed by men. Men are offered the presumption of competence regardless of experience. Women are considered a risk regardless of experience.

When they do get hired, their work is often measured by different standards than men.  This has led directors like Ava DuVernay to hire female directors exclusively for her TV show Queen Sugar.  Netflix’s hit show, Jessica Jones, will do the same, with a different woman director for each episode in its second season.

The number of women making films and working in all facets of the movie industry is growing steadily.  Organizations have appeared to help the women at various stages of their careers.  Here is a listing of the best blogs offering a boost to women working in the film business.

New York Women in Film & Television


The preeminent entertainment industry association for women in New York, NYWIFT brings together over 2,200 women and men working both above and below the line. NYWIFT is part of a network of 40 Women In Film chapters worldwide, representing more than 10,000 members.

Women in Film and Video of Washington D.C.


Located in one of the country’s leading non-fiction film production centers and at the center of federal, non-profit and non-governmental agencies, WIFV is uniquely positioned to offer its members unsurpassed continuing education offerings and connect them to professional opportunities across the globe.

Women In Film – Toronto

Women In Film & Television – Toronto accepts members who have made a commitment to work in the industry. WIFT-Toronto welcomes women of every race, ethnicity and ability and at every stage of work and life. Programs and activities are designed to meet the needs of women at every stage of their careers. Member events are entertaining, engaging, purposeful and rewarding.

Women in Film – Los Angeles ]

I couldn’t find a blog here but WIF Los Angeles seems to be the home site for the Women In Film organization.  This page has a listing of the WIF chapters in the US, Canada and around the world.  Women In Film is a non-profit organization dedicated to promoting equal opportunities for women, encouraging creative projects by women, and expanding and enhancing portrayals of women in all forms of global media.

Women And Hollywood

Hollywood is broken.  Especially for women.   Women and Hollywood blogs in a unique proactive style to engage filmgoers and filmmakers with news and information highlighting women filmmakers and agitates for increased opportunities for women.  On a daily basis, Women and Hollywood sets the standard, defines the conversation, fuels coverage and reinforces messages throughout the specialized and mainstream media to call for gender parity.

Shit People Say to Women Directors

Often laugh-out-loud funny, this Tumblr site is an anonymous open blog for all individuals identifying as women who work in film & television. It’s a crazy business, especially for women. Until now, we haven’t had a platform to share some of the let’s call them “unusual” things people have said to us while working. This is for catharsis and to expose some of the absurd barriers women face in the entertainment business. Open to all women in film. Please feel free to submit stories via the anonymous submission box. We’d love to share your story.

Women’s Film Institute

Since it’s founding in 2004 the Women’s Film Institute (WFI) has a long history of amplifying the voices of women and girls. WFI is proud to support, promote, and celebrate women’s voices. WFI is a powerful global network dedicated to women’s leadership in the media and 21st-century storytelling. Subscribe to the WFI podcast and listen to informative, compelling and up close and personal conversations from a diverse selection of writers, directors, producers and content creators.


On October 21, 2016, the 75th anniversary of the first appearance of Wonder Woman, that character was designated by the United Nations as its Honorary Ambassador for the Empowerment of Women and Girls, a gesture intended to promote gender equality and empowerment of women and girls. In attendance to mark the occasion was director Patty Jenkins, Wonder Woman actresses Gal Gadot and Lynda Carter, DC Entertainment President Diane Nelson, and U.N. Under-Secretary-General Cristina Gallach.

 


Wonder Woman director Patty Jenkins, past credits include the crime drama Monster (2003), which she wrote and directed.  Monster starred Charlize Theron in the role of serial killer Aileen Wuornos, a former prostitute executed in 2002 for killing six men.

 

Eminem vs. New Zealand’s National Party in Soundalike Copyright Trial

New ZealandHip Hop mega-artist Eminem sued New Zealand’s conservative National Party this month for copyright infringement. The suit alleges that the soundtrack, used in a 2014 National Party TV ad, was copied from Eminem’s iconic Lose Yourself and breached the copyright of Eight Mile Style, Eminem’s publisher.

The National Party said it licensed the rights to the soundtrack, titled Eminem Esque, from the Australian-based music library Beatbox Music.

Garry Williams, the lawyer for the plaintiff told the court that Lose Yourself is the ‘jewel in the crown of Eminem’s music catalog’ – the licensing of which is tightly controlled. ‘They would never allow the use of a re-recording of the musical work unless that re-recording involved the participation of the original artist.’  [Skynews, May 1, 2017]

He said the Detroit rapper’s hit was “iconic,” having won an Academy Award, two Grammys, and critical acclaim and that meant rights to the work were “enormously valuable” and were strictly controlled by the publisher, which had rarely licensed them for advertising purposes. [ABS CBN News, May 1, 2017]

Lose Yourself has indeed been licensed in the past. It was used to great effect in a Super Bowl ad in 2011. The ad, Imported from Detroit for Chrysler, was built around the guitar riff to the song.  In this case,  Lose Yourself was legally licensed (paid for) and used with the artist’s permission. Eminem appeared in the ad giving a boost to his hometown of Detroit.  The success of the Imported from Detroit campaign more than likely contributed to Lose Yourself becoming “the jewel in the crown of Eminem’s music catalog”.

Eminem Esque, the song the National Party licensed, has the same urgent, pulsing beat of Eminem’s song.

Here is the ad spot.

While there is little doubt that the soundalike Eminem Esque emulates the main riff of Lose Yourself, they are not identical.

Lose Yourself makes use of an insistent eighth note guitar riff which alternates between the pitch A for one measure and then moves to B-flat for one measure. The real sonic power of the riff is the guitar which, performed with some very fine musicianship, creates high interest using different accents applied to notes in the riff.

Eminem-esque’s version of the guitar line is this.

It is clearly different (and in no way as interestingly performed as in the Eminem track). It incorporates notes not found in Lose Yourself. It’s true; the guitar is featured prominently in the mix just as in Lose Yourself. Eminem Esque is also in the same key as Lose Yourself but it adds sustained synthesizer strings and harmonies that are not found in the Eminem recording.

Identical? The answer is no. I’m sure this is what the creators of Eminem Esque thought as well. They had made enough change in their soundalike that, though they were drawing on Lose Yourself, they had created enough difference that their track would be free from a copyright infringement claim.

What makes things difficult is that the infringement in question centers around a guitar riff. There is no real melody here. Most infringement cases compare the vocal line – the song’s melody – one to another.

The precedent for Eminem’s claim of infringement is the 2015 case against Blurred Lines brought by the children of Marvin Gaye, who sued for copyright infringement claiming Blurred Lines copied Gaye’s hit Got to Give it Up.

“Rather than hinging on a particular set of notes [melody], Blurred Lines was found in violation of copyright based purely on the atmospheric similarity to Gaye’s Got to Give it Up — a “vibe” that’s a result of production choices and the rhythm pattern.”  [ Business Insider, Sept 16 2016]

This verdict has been appealed. It has also been criticized by many composers, musicians, and songwriters. In the summer of 2016 more than 200 music creators signed a legal brief supporting Pharrell Williams’ appeal of the $5.3-million judgment handed down against him and Robin Thicke in 2015.

The brief states:

“Quite clearly, the verdict in this case, if based upon the music at all, was based upon the jury’s perception that the overall ‘feel’ or ‘groove’ of the two works is similar, as songs of a particular genre often are. In essence, the Appellants have been found liable for the infringement of an idea, or a series of ideas, and not for the tangible expression of those ideas, which is antithetical to Section 102(b) of the Copyright Act.

“Such a result, if allowed to stand, is very dangerous to the music community, is certain to stifle future creativity, and ultimately does a disservice to past songwriters as well,” the brief states. [Los Angeles Times August 31, 2016]

It could be that what constitutes copyright infringement is changing. If the Blurred Lines decision is the new precedent, then it’s not only a melody line that’s copyrighted it’s a “feel.”

Eminem’s lawyer’s argument against the use of Eminem Esque is that the song taps into the collective associations and cultural connections that listeners’ have with Lose Yourself. It appropriates a listener’s cultural memory of a hit song, and that memory has a huge value. This is no longer about comparing musical notes on a page. It is about claiming infringement upon a musical work’s worth to the zeitgeist.

If using a similar “groove” or “feel” or “vibe” or 2 note, half step riff can be claimed as legal grounds to sue for infringement; we are into a whole new era of copyright jurisprudence.

Listen to this.  The linked page provides an A/B comparison of the 1970s band Chicago’s 25 of 6 to 4 with Led Zeppelin’s Babe, I’m Gonna Leave You. Same riff, same key, same notes, basically the same rhythm. Both of these songs have gone on to be Classic Rock standards.

As of this writing, there’s been no verdict in the case against the usage of Eminem Esque. The appeal of the Blurred Lines decision has also not been settled. Victories in these two cases would solidify a new precedent in copyright law.


Update:  Eminem wins damages in New Zealand copyright case

 

 

Interview with Rock Guitarist and Soundtrack Producer Dan Morrissey

Some of our favorite tracks at UniqueTracks.com have been written and produced by Dan Morrissey.

Based in London, Dan has been a full-time guitarist, musician & composer since the age of 18. Recently his work has been licensed by Molson Coors Brewing Co., ESPN, BBC Radio 5 Live, and Eurosport Network.

We talked recently about his musical experiences, his background and how he conceives of the tracks he produces. A brief excerpt from that conversation is featured below.

You mentioned that one of your songs was covered by Jeff Beck on his 2006-2009 world tours. How did that relationship come about?

I met Jeff Beck at an Imogen Heap concert in about 2006. I plucked up the courage to quickly go and say hello to him and asked if he’d mind if I sent him a CD of my music. He agreed and gave me the details of his manager.

About 5 weeks later I got a call at just after midnight. A female voice told me that Jeff Beck would like to talk to me. He came on to the phone and I was almost speechless. He told me he’d really enjoyed all of the CD but there was one track called ‘ Scottish One‘ that he really loved. He asked if I’d mind if he played it during his impending tour ‘to relieve the boredom’ of playing all his old tracks. Of course, I was gobsmacked and told him it would be an honor. He went on to play ‘Scottish One‘ round the world, as his encore for the concerts over the next 3 years.

What musical experiences did you have that made you want to pursue music as a career?

After studying classical piano for 5 years until age 13, I gave up music for a few years to concentrate on playing football, I got back into music through my school friends, who all liked ‘70s hippie music – Cream, Hendrix, the Doors etc. This was entertaining but when I heard harder bands like UFO and AC/DC, my world of possibilities suddenly expanded infinitely and I knew that I had to learn the electric guitar and in that style.

So from the age of 17, I was in bands playing original music. Cover or Tribute bands were never my thing. I’m not sure I ever really decided to make music for a living. It was just my obsession and I simply could not stop.

What is your favorite thing about performing? Least favorite?

The best thing about performing live is the rush and the reaction of the audience. It makes all those hours of driving to venues, loading gear and waiting around to soundcheck all worthwhile, no question.

How do you conceive of your tracks? Can you elaborate on your recording/producing process?

Tracks can come into being in a manner of ways for me. Sometimes I sit down with a guitar and play until something pops up that I can envision developing into a full blown track. Sometimes I go through various synth sounds until a spark appears and that leads me on to gradually build upon it. Other times I get an idea just as I am about to fall asleep and decide that life is too short, that I simply have to get up and start recording, lest it be lost in the ether forever. Quite inconvenient!

But inspiration cannot really be ignored. Sometimes though, ideas have to ground out and crafted. To be really worked at until they take shape. I’m very fortunate not to suffer from writer’s block. Recently I was very generously passed on an ear infection by my two-year-old daughter, Minnie. I was half deaf for 3 weeks. When I finally regained my hearing, it was like the dam walls had burst. Ideas came at me tumultuously for about a month solid. Nothing inspires like absence, I’ve found. I rarely take a day off from music. My brain won’t really allow it.

ENERGY WAVE by Dan Morrissey
www.uniquetracks.com/energy-wave/
Soft piano builds towards a huge uplifting rock chorus. Positive with great energy.  Big guitars! Perfect for business presentation, video marketing, on hold marketing, video production uses.

DISTANCE by Dan Morrissey
www.uniquetracks.com/distance/
An example of a PSA or Documentary style using the soundtrack DISTANCE composed by Dan Morrissey. Longing, want, separation, hope, being alone… These are the moods conveyed in this dramatic track. A heartfelt piano is the lead instrument.

ADRENALINE by Dan Morrissey
www.uniquetracks.com/adrenaline/
Raw energy, big guitars, conveys strength, winning, an achievement attained through effort. Post Punk Foo Fighters style mixed with strong, mucho shredded lead guitar lines.

UniqueTracks Production Music Library prides itself on the quality of its music.

We know you don’t have time to sift through pages of unfocused search results. Instead, we show you stock music selects that quickly satisfy your soundtrack needs.

We feature a limited number of professional composers whose music we believe is licensable and useful to music supervisors and media creators searching for a stock music solution.

Our experience has led us to believe that the greatest challenge for customers on sites like ours is managing the speed of the search process. Reducing the time it takes to find workable music is the main thrust of our site.

To that end, we do not offer a library of hundreds of thousands of tracks. Rather, our library is somewhat narrow, with each track having to pass an ‘ear test’ as to its functionality as a soundtrack. We hope that by raising the quality/functionality bar at the outset, you will reduce the time it takes to find the track you need.

Game Composer Andrew Aversa featured at UniqueTracks

UniqueTracks is very proud to represent three albums by game composer and electronic music producer Andrew Aversa (a.k.a. zircon).  We started licensing Andrew’s music back in 2008 and are happy to say that his tracks are some of the most popular music we have available.After studying piano classical piano for several years, Andrew began writing and recording music.  His first electronic works were video game music remixes created for free distribution at the online community OverClocked ReMix (The relationship with OverClocked Remix had an unforeseen, surprising benefit as he would later meet his wife, Jillian through his association there).

After studying piano classical piano for several years, Andrew began writing and recording music.  His first electronic works were video game music remixes created for free distribution at the online community OverClocked ReMix (The relationship with OverClocked Remix had an unforeseen, surprising benefit as he would later meet his wife, Jillian through his association there).

Those initial successes led to professional work.  Andrew has written video game soundtracks for Soulcalibur V, Super Street Fighter II, Dungeonmans, Globulous, Phineas & Ferb: Across the 2nd Dimension, Monkey Island 2: Special Edition and much more.

As zircon, Andrew has released 10 albums of electronic music in progressive breakbeat,  trance, dubstep, drum and bass, atmospheric downtempo, and many other highly rhythmic electronic subgenres.

UniqueTracks owns publishing rights to license 36 zircon tracks from these albums.

  1. Impulse Prime
  2. The World Circuit
  3. Mass Media Constant

Here is the complete listing of zircon’s music available for licensing at UniqueTracks.com

These videos feature Andrew’s music.  You can see how well it sync’s up with visuals.

Star Trails by zircon (Andrew Aversa) can be licensed directly from UniqueTracks.com.

This movie features the zircon song Nimbus which can be licensed here at UniqueTracks.com

The Koto Chill (Nipponica) is available to license here at UniqueTracks.com

Shadows pairs Andrew with his wife, vocalist Jillian Avera.
Shadows can be licensed here at UniqueTracks.com.  There is also an instrumental version of this song.

ABOUT ZIRCON: zircon (Andrew Aversa) is an EDM / electronic music producer, remixer, and game soundtrack composer. He has released over a dozen albums and soundtracks in styles ranging from breakbeat, big beat, dubstep, and drum n’ bass, to epic orchestral, atmospheric, chillout, and vocal trance. He frequently collaborates with his wife, vocalist Jillian Aversa and has written for such soundtracks as Soulcalibur V, Super Street Fighter II Turbo HD Remix, Monkey Island 2 SE, and many others.

Here is the complete list of zirconMusic tracks available for licensing at UniqueTracks.com

High Impact Sound Effects

For many years UniqueTracks sold sound effects series directly on its home website.  Starting this month, we are launching a new site dedicated only to sound effects and motion video backgrounds.  The site is called High Impact Sound Effects.

High-Impact-Sound-Effects.com is dedicated to bringing you the best in big-value, low-priced, professional sound effects, royalty free

High Impact Sound Effects Series

The High-Impact Sound Effects Series is a four volume set of audio imaging sound effects. Each volume includes over 300 effects. This specially-priced Sound FX package will deliver just the right shot of audio adrenaline for your media projects.

 

High-Impact Sound Effects Series

Volume 1 Radio Imaging
Volume 2 TV Production
Volume 3 Multimedia Elements
Volume 4 Game Design FX


Blastwave FX is a major supplier of professional sound effects to Hollywood and the game production industry. Its design and engineering teams push the sound envelope with innovative product formats, rich metadata, multi-channel libraries and the highest resolution audio that technology allows.

Blastwave FX Premium Sound Effects

Podcaster – Podcast Production FX and Music Loops
Webtones – Buttons, Clicks, Beeps, Sounds for Flash Production
Spoilers – High Definition Commercial Beds
Drones – Expressive, Dramatic Low Register Sound Beds


Each volume in the ArtLoops series presents 40+ broadcast quality animated backgrounds. The set is geared towards International Relations, High-Tech and Business projects with a series of volumes offering animated national flags, globes, and world money. There is also a unique set of all alpha elements.

ArtLoops Video Backgrounds 6 Volume Series

Volume 1 High-Impact Tech
Volume 2 National Flags
Volume 3 All Alpha Channel
Volume 4 World Money
Volume 5 Subtle Expressions
Volume 6 Global Connections

 

Top 15 songs for Thanksgiving Projects

Wedged between Halloween and Christmas projects,  media creation for Thanksgiving can often feel rushed.  If you’re working on a Thanksgiving presentation or ad campaign, whether setting scenes for the holiday feast, the parade, the church service or the big football game, we have a soundtrack that will lift your project and strike just the right tone.

The following soundtracks will contribute a heartfelt and hopeful mood to your Thanksgiving production.

Also listen to:


Premium Stock Music for Film, TV, Advertising and Interactive. Editor-selected, Easy Search, Fast Results UniqueTracks has a vast library of music loops and grooves plus a large selection of classical production music available for licensing into your production.

Top 10 songs for Halloween Projects

A major element of any successful horror film or Halloween ad campaign won’t be found in ghoulish effects, frightening make-up, or inspired casting. The music, the soundtrack of a horror scene, from a scorching main theme to an eerily quiet atmospheric rustling in the upper strings, can transform a good scene into a great one.

A wide range of scary soundtracks from the UniqueTracks stock music library is listed below.  More can be found on our page devoted to Halloween music.  Here, you’re sure to find the evilest, spine-tingling music you need to take your project to its ultimate fiendish perfection.

Our top ten horror/mystery soundtracks for the Halloween season:

  1. Queen of the Vampires
  2. Out of the Ruins
  3. Mysterious Passage
  4. Big Horror
  5. Dark Forces
  6. Destructive Impulses
  7. Dimension Unknown
  8. Dark Clouds
  9. Anatomy of a Nightmare
  10. Creature Feature

Also, see:


Premium Stock Music for Film, TV, Advertising and Interactive. Editor-selected, Easy Search, Fast Results UniqueTracks has a vast library of music loops and grooves plus a large selection of classical production music available for licensing into your production.

Top Classical Music Scores Used As Movie Soundtrack

The great 1970s-era film and TV composer, Jerry Fielding, said something that I have always tried to remember when approaching the music for a film or for any type of soundtrack.

Most of us are aware of and do not like the kind of bad film music that intrudes and italicizes moments that have no need of such emphasis.” ***

Fielding is saying that using background music too obviously, or too literally, can throw off the balance of a scene by over-emphasizing the moment. Because it contributes to and reinforces the emotional atmosphere of the scene at hand, background music has great power to affect an audience’s perception of the film. When done with taste, it elevates the emotional experience of the film. When done poorly, it can add an inflated sentimentality or become overblown and bombastic. In a bad film, I often get the sense that the soundtrack is being used as a crutch. The director doesn’t believe the scene is working and feels it can be saved by adding a lot of extraneous music.

The great majority of film soundtracks comment directly on the scene at hand, For example, in a chase scene, the music usually tries to elevate the audience’s pulse with strong, invigorating music. It echoes the action on screen. However, some of the greatest soundtracks use a much less direct approach. The title sequence to Martin Scorsese’s Raging Bull provides a great example of another, subtle, scoring technique.

The movie begins with slow-motion footage of boxer Jake LaMotta (played by Robert De Niro), shadow boxing inside the ring while the movie’s opening credits appear.  The classical background music accompanying this scene is Interlude from the opera Cavalleria Rusticana by the Italian composer Pietro Mascagni. Scorsese chose a piece of pre-existing classical music to form the opening soundtrack to Raging Bull.

Unlike standard underscore, this music doesn’t enlarge or highlight what is happening on screen. Instead, it plays against the scene, creating its own dimension, its own personalized color or texture. The use of Cavalleria Rusticana elevates the scene into a dreamlike, almost religious environment, evoking a sense of the tragedy that we, as audience members, are about to experience while watching the story of Jake LaMotta unfold. This is a much more interesting use of background music. It’s less obvious, more poetic and very powerful.

What is it about classical music that makes it so well-suited to such powerful artistic statements in a film?

The main reason is the music itself. There are no stronger themes than those found throughout the classical repertoire. Add to that the fact that this music is already established in our culture and we, in some cases, have built-in associations with it. Also, the music is hundreds of years old. It has survived the tests of time and we subconsciously experience it as existing on another plane, like a voice from above.

Here is a list of some other movies that use classical music to play against the events transpiring on screen. These scores operate as an overview, revealing the elemental, spiritual core of the movie’s meaning.

Platoon (1986) – The music is Samuel Barber’s Adagio for Strings – here again, this background music provides the spiritual heart of the film – a saga about the struggle between good and evil faced by soldiers newly-recruited to serve in Vietnam. This same theme is used to produce virtually the same effect in The Elephant Man (1980).

Godfather 1 (1972) – It’s one of the greatest sequences in film history – while attending the baptism of his niece, Michael, the new Godfather, has all his enemies massacred. The scene is scored using J. S. Bach’s music Passacaglia and Fugue in C Minor.

Breaking Away (1979) – A coming of age film about a teenage boy so in love with cycling that he adopts all things Italian, including opera, in order to fully emulate his racing heroes.   The film’s most memorable and endearing scene contains no dialogue at all. In it, the main character reaches an incredible speed on his bike by cycling in the backdraft of a large truck. It’s a moment akin to the scene in Rocky 1 when Rocky victoriously leaps up the steps of the Philadelphia Museum. (Gonna Fly Now) except in this scene, the underscore is Mendelssohn’s Allegro, 1st Movement from the Italian Symphony.

2001 Space Odyssey (1968) – Stanley Kubrick’s visually stunning masterpiece uses the composition Also Sprach Zarathustra by Richard Strauss as its main theme. There is also an incredible sequence using the Blue Danube Waltz by Johann Strauss.

The Killing Fields (1984) – Features a recording of Pavarotti singing Puccini’s Nessun Dorma near the end of the film when the main character (Sam Waterston) has returned to the US after witnessing and surviving the ethnic cleansing in Pol Pot’s Cambodia.

Philadelphia (1993) – Tom Hanks as Andrew Becket comes to grips with his own impending death from AIDS while describing Giordano’s aria La Mama Morta (sung by the great Maria Callas) to his lawyer. The lawyer (Denzel Washington) finally gets beyond Becket’s homosexuality and sees him as a human – sees his humanity. Heavy stuff, also extremely powerful.

Manhattan (1979) – In the famous opening sequence, Woody Allen portrays the New York cityscape in a stunning black-and-white montage. The underscore is Gershwin’s Rhapsody in Blue.

The UniqueTracks Production Music Library contains over 200 hours of classical production music. Try searching our music library for classical background music to support your next production.

*** Jerry Fielding is best known for the following film soundtracks spanning the late 1960s through the 1970s: The Wild Bunch, The Outlaw Josie Wales, Straw Dogs, Semi-Tough, The Gauntlet. He also composed the main themes for two pretty famous TV shows – Hogan’s Heroes and Barnaby Jones.


Premium Stock Music for Film, TV, Advertising and Interactive. Editor-selected, Easy Search, Fast Results UniqueTracks has a vast library of music loops and grooves plus a large selection of classical production music available for licensing into your production.


Royalty Free Music, Sound Effects, and Animated Video Backgrounds

New stock music – Hollywood Action Adventure soundtracks

Stock Music for Action Adventure Projects

UniqueTracks is proud to release a new collection of Hollywood-style action/adventure stock music soundtracks. This set features orchestral movie soundtracks perfect for battle scenes, chase scenes, and subject matter relating to military, conflict/war.

The collection features a big orchestral sound featuring powerful horns, strings, and eerie choir textures. The music reflects the Spiderman or Iron Man franchises for a big orchestral style.  Also, think of big epic Hollywood films like Gladiator or Braveheart.

The collection contains thunderous orchestral soundtracks in Hollywood’s powerful action-adventure style. This volume can be used to underscore heroic emotions like victory, battle, bravery, combat and discipline. There is a martial quality to these soundtracks which make them perfect for projects dealing with the military or patriotism.

Stand-out stock music tracks include:


Premium Stock Music for Film, TV, Advertising and Interactive. Editor-selected, Easy Search, Fast Results.  UniqueTracks has a vast library of music loops and grooves plus a large selection of classical production music available for licensing into your production.

The Public Domain – A Guide for Media Producers

What do these artistic works have in common?

  • Beethoven’s Fifth Symphony
  • Hamlet
  • Moby Dick
  • Oh Susannah
  • America the Beautiful
  • Tarzan
  • Alice in Wonderland
  • Sherlock Holmes
  • The Complete Works of Edgar Allan Poe

Answer: They are no longer protected by copyright law and are free for all to use. They are classified as being in the Public Domain.

These creative works, and thousands like them, are available for use by the public at no charge because their copyrights have expired or have somehow, been nullified.

The available public domain media include images, music, photos, illustrations, graphics, books, artworks and movies.

Generally speaking, US publications prior to 1923 are in the public domain. So you won’t find the latest bestsellers or any top ten hits. You will find the classic books from the start of this century and previous centuries, as well as the great musical masterworks from Bach to Tchaikovsky.

Copyright Limits
In the United States, works published with a copyright notice from 1923 through 1977 are protected for 95 years from the date of publication. Those published in 1978 or thereafter are now protected for 70 years after the death of the creator, as are those in the European Community. In Canada and other countries, the period is life plus 50 years.

Misconceptions about Public Domain works
True or False…since Tchaikovsky’s masterpiece, Swan Lake, was composed in the 19th century and is now in the public domain, it can be freely used as background music in video or multimedia presentations?

The answer is True AND False

It is true that Swan Lake is no longer under copyright and this public domain music can be freely used without seeking permission from a publisher. In other words, you don’t have to pay anyone to acquire synchronization rights to be able to use the music of Swan Lake.

However, if you use an existing recording of Swan Lake in your work, that recording is protected by copyright and you would need to get permission from the record company to use it.

So yes, Swan Lake is public domain music and you could use it for free if you assembled your own ensemble of musicians and recorded your own version of it. But if you use someone else’s recorded version, you would need permission from them to be able to use their recording in your production.

This is an example of a public domain piece of music –  Jeux D’eau by Maurice Ravel. Though the work itself is in the public domain, this recording is fully copyrighted and would require a license to use in your work.

Here’s a quick rule of thumb when using music, images, graphics, or texts in your productions… If you didn’t personally create it, then you need permission to use it in your work unless the media in question has entered the public domain. For a detailed article about copyright permissions, Master Use and Synchronization Rights, see the article How to Use Music Legally in Your Work.

UniqueTracks Public Domain Classical Music
UniqueTracks offers a quick and easy way to legally license classical music recordings of music works that are in the public domain. When you purchase a license from UniqueTracks, you are acquiring master use rights to use the recordings in your projects and products with no further licensing or payments to us.

The UniqueTracks Stock Music Library licenses public domain classical stock music recordings for a variety of media use.  Classical music offers the benefit of time-tested melodies that have moved listeners for generations. Included in our series are movements from Tchaikovsky’s famous ballets ” Swan Lake“, “Sleeping Beauty” and “The Nutcracker (Suite)“, the famous “Blue Danube Waltz” by Johan Strauss, Mozart’s “Eine Kleine Nachtmusik” Vivaldi’s brilliant “Gloria” for choir and orchestra, numerous solo Piano Waltzes by Chopin, the “Air on a G String” by J S Bach, and Schubert’s “Fifth Symphony”.

Public Domain Sites, More Information
Project Gutenberg – A great site of public domain literature, Project Gutenberg is the oldest producer of free electronic books (eBooks or etexts) on the Internet. All may be freely downloaded and read and redistributed for non-commercial use.

Copyright Confusion by Neil Wilkinson
Clear and concise discussion of copyright from WritersWeekly.com

United States Copyright Office – Library of Congress. Lots of copyright information, also tells how to register your own work for copyright.


Premium Stock Music for Film, TV, Advertising, and Interactive. Editor-selected, Easy Search, Fast Results.  UniqueTracks has a vast library of music loops and grooves plus a large selection of classical production music available for licensing into your production.


Royalty Free Music, Sound Effects, and Animated Video Backgrounds