Steve Winwood Quiz Hub
Steve Winwood is an English singer-songwriter and multi-instrumentalist known for his soulful voice and timeless hits like "Higher Love." With a career spanning the Spencer Davis Group, Traffic, Blind Faith and a successful solo run, Winwood remains a celebrated figure in rock and blues music.
Steve Winwood Profile
| Born | Stephen Lawrence Winwood was born in Birmingham, England on May 12, 1948. |
| Groups | Blind Faith, Traffic |
| Key Albums | Back in the High Life (1986), Talking Back to the Night (1982), Arc of a Diver (1980), Roll With It (1988), Nine Lives (2008), About Time (2003), Junction Seven (1997), Refugees of the Heart (1990), Steve Winwood (1977). |
| Key Tracks | Valerie (1982), Higher Love - Single Version, While You See a Chance (1980), Back In The High Life, Roll With It (1988), Arc Of A Diver (1980), The Finer Things (1986), Spanish Dancer (1980), Gimme Some Lovin' (1992), I'm Not Drowning (2008). |
| Grammy Record | 2 won and 11 nominated. |
| Billboard Hot 100 | 2 Number One Hits 6 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>")
