You worked really hard to secure the deal, and they finally sent over the contract. Congratulations! As you looked over the contract, you might have thought to yourself, “I can negotiate this without an attorney!” After all, I perpetuated the deal, and did all the legwork, why should I pay the additional cost?
Attorneys, (especially with regards to the entertainment business) are responsible for a lot more than just looking over contracts and giving their clients insight on the law. In my 20-plus years of experience, our entertainment attorney has always been very much involved in shaping our deals in a way which moved our careers forward. A lot of our successes could not have been achieved without the help of our attorney. Let me be clear, if you do decide to do your deal without consulting an attorney, you’re asking for a world of trouble. With that in mind, it only makes the best sense to really take the time to find an attorney that you’re comfortable with.
Here are 4 tips for choosing an entertainment attorney.
The debate continues to rage over the proportion of streaming revenue paid to songwriters and publishers vs. that passed to record companies and artists.
One of the justifications you often hear for labels continuing to take the lion’s share of payouts from Spotify etc. is that they invest a huge amount more in A&R than those who develop songwriters. Not true, says UK Music’s new Measuring Music report. According the trade body’s numbers, record labels spent £178m on A&R in 2014. That was certainly ahead of the investment in songwriters made by music publishers – but by less than you might assume. Publishers spend £162m on writers in the year, according to the UK Music report. If you count that as ‘pure’ A&R investment, it was just £16m behind their peers in record companies. (In like-for-like terms, this is a rough approximation: the publishing figure – drawn from MPA data – is defined as ‘investment in writers (advances etc.)’, while the record label figure – derived from BPI data – is defined as pure ‘A&R expenditure‘.)
Read more from www.musicbusinessworldwide.com
Sourced through Scoop.it from: www.musicbusinessworldwide.com
At this year’s SXSW music conference, no less a figure than Paul Krugman, the Nobel Prize winning economist, was discussing a $64,000 question shared by brand marketing and procurement execs the world over:
“How much is music worth?”
It’s a pertinent question.Especially in the YouTube era where, to all intents and purposes, music has become a ‘free’ commodity to an entire generation – some of whom are joining the marketing profession.
Those who ignore the finer points of intellectual property do so at their peril
As envisaged by David Bowie more than a decade ago, music now flows openly like water. Fans no longer need to plumb the murky waters of Pirate Bay since the entire history of music, licensed or otherwise, is now available at a click. However, against this consumer backdrop of diminishing value, for brands and their agencies, negotiating the price of music licences for marketing communications remains a minefield.
The music rights landscape is fragmented and complex – controlled by record labels and music publishers – and those who ignore the finer points of intellectual property do so at their peril. (On this point, Bowie’s future-gazing went somewhat awry – in 2002 he also predicted that “copyright…will no longer exist in 10 years”
Sourced through Scoop.it from: www.marketingmagazine.co.uk