Eddie Money Quiz Hub
Eddie Money was an iconic American rock singer and songwriter known for his energetic performances and timeless hits. With chart-toppers like “Two Tickets to Paradise,” he became a staple of classic rock radio and a beloved figure in music history.
Eddie Money Profile
| Born | Edward Joseph Mahoney was born in New York, New York on March 21, 1949. |
| Died | September 13, 2019 |
| Key Albums | Can’t Hold Back (1986), Eddie Money (1977), No Control (1982), Life for the Taking (1978), Nothing to Lose (1988), Wanna Go Back (2006), Playing for Keeps (1980), Right Here (1991), Where’s the Party? (1983), Ready Eddie (1999). |
| Key Tracks | Take Me Home Tonight (1997), Two Tickets to Paradise (1977), Baby Hold On (1977), Shakin' (1982), Think I'm In Love (1982), I Wanna Go Back (1986), Walk On Water (1988), Gimme Some Water (1997), Peace In Our Time (1989), We Should Be Sleeping (1986). |
| Grammy Record | 0 won and 1 nominated. |
| Billboard Hot 100 | 2 Top-10 Hits |
![Image in QuizMyDay Kenny Loggins Knowledge Quiz trivia quiz featuring This is a <a href="https://en.wikipedia.org/wiki/en:Publicity_still" class="extiw" title="w:en:Publicity still">publicity still</a> taken and publicly distributed to promote the subject or a work relating to the subject.
<ul><li>As stated by film production expert Eve Light Honthaner in <i>The Complete Film Production Handbook</i> (Focal Press, 2001, p. 211.):<br>"Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary."</li>
<li>Nancy Wolff, in <i>The Professional Photographer's Legal Handbook</i> (Allworth Communications, 2007, p. 55.), notes:<br>"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them."</li>
<li>Film industry author Gerald Mast, in <i>Film Study and the Copyright Law</i> (1989, p. 87), writes:<br>"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible."</li>
<li>Kristin Thompson, committee chairperson of the Society for <a rel="nofollow" class="external text" href="//cmstudies.org">Cinema and Media Studies</a> writes in the conclusion of a 1993 conference of cinema scholars and editors<a rel="nofollow" class="external autonumber" href="//web.archive.org/web/20131004004521/http://chnm.gmu.edu/digitalhistory/links/cached/chapter7/link7.59b.fairusageandfilmstills.html">[1]</a>, that:<br>"[The conference] expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements... [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs."</li></ul>](https://d3le1x71fx28bd.cloudfront.net/1e30709d-ce39-4047-8567-eaa123c05c9d/821a3a29-a332-4b08-8a19-f1499f36e3e0.jpg "Image in QuizMyDay Kenny Loggins Knowledge Quiz trivia quiz featuring This is a <a href=\"https://en.wikipedia.org/wiki/en:Publicity_still\" class=\"extiw\" title=\"w:en:Publicity still\">publicity still</a> taken and publicly distributed to promote the subject or a work relating to the subject.
<ul><li>As stated by film production expert Eve Light Honthaner in <i>The Complete Film Production Handbook</i> (Focal Press, 2001, p. 211.):<br>\"Publicity photos (star headshots) have traditionally not been copyrighted. Since they are disseminated to the public, they are generally considered public domain, and therefore clearance by the studio that produced them is not necessary.\"</li>
<li>Nancy Wolff, in <i>The Professional Photographer's Legal Handbook</i> (Allworth Communications, 2007, p. 55.), notes:<br>\"There is a vast body of photographs, including but not limited to publicity stills, that have no notice as to who may have created them.\"</li>
<li>Film industry author Gerald Mast, in <i>Film Study and the Copyright Law</i> (1989, p. 87), writes:<br>\"According to the old copyright act, such production stills were not automatically copyrighted as part of the film and required separate copyrights as photographic stills. The new copyright act similarly excludes the production still from automatic copyright but gives the film's copyright owner a five-year period in which to copyright the stills. Most studios have never bothered to copyright these stills because they were happy to see them pass into the public domain, to be used by as many people in as many publications as possible.\"</li>
<li>Kristin Thompson, committee chairperson of the Society for <a rel=\"nofollow\" class=\"external text\" href=\"//cmstudies.org\">Cinema and Media Studies</a> writes in the conclusion of a 1993 conference of cinema scholars and editors<a rel=\"nofollow\" class=\"external autonumber\" href=\"//web.archive.org/web/20131004004521/http://chnm.gmu.edu/digitalhistory/links/cached/chapter7/link7.59b.fairusageandfilmstills.html\">[1]</a>, that:<br>\"[The conference] expressed the opinion that it is not necessary for authors to request permission to reproduce frame enlargements... [and] some trade presses that publish educational and scholarly film books also take the position that permission is not necessary for reproducing frame enlargements and publicity photographs.\"</li></ul>")
