Entertainment Law and Business
Jay Shanker, David E. Guinn, Harold Orenstein.Price: $195.00 800 pages. 1 Looseleaf Volume. Appendices. One CD-ROM. Index. Updated annually or when needed. ISBN: 1-57823-148-5 Also Available as Hardcover for $150. (No Online Access) Published June 2005. ISBN 1-57823-191-4.
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Introduction
PART I
The Law of Entertainment: Copyright, Trademark, Publicity, and Privacy
Chapter 1
U.S. COPYRIGHT LAW
1.1 Copyright: Constitutional and Statutory Groundings
1.1.0 The Constitution.
1.1.1 Copyright Revision Act of 1976.
1.1.2 Berne Convention Implementation Act of 1988.
1.1.3 Digital Millennium Copyright Act / WIPO Treaties Implementation Act
1.2 Subject Matter of Copyright
1.2.1 Section 102 Subject Matter of Copyright: In General
1.2.2 “Originality”
1.2.3 “Authorship” and “Expression”
1.2.4 “Fixed in Any Tangible Medium of Expression”
1.2.4.1 Limitation - Common Law Copyright
1.2.4.2 “Any Medium”
1.2.5 “Works of Authorship”
1.2.6 “National Origin”
1.2.7 Statutory Pre-emption.
1.2A Neighboring Rights
1.2A.1 Semiconductor Chip Products.
1.2A.2 The Performer’s Copyright?
1.2A.3 Protection of Original Designs
1.3 Exclusive Rights in Copyrighted Works
1.3.1 Copyright Rights
1.3.1.1 Reproduction
1.3.1.2 Adaptation
1.3.1.3 Publication
1.3.1.4 Performance
1.3.1.5 Display
1.3.1.6 Digital Audio Transmission
1.3.1.7 Internet Carrier Limitation
1.3.1.8 Collective Works
1.3.2 Moral Rights or the Droit Moral
1.3.2.1 The Right of Publication
1.3.2.2 The Right of Paternity
1.3.2.3 The Right of Integrity
1.3.3 Droit de Suite
1.3.4 Performer’s Rights
1.4 Fair Use
1.4.1 “The Purpose and Character of the Use”
1.4.2 “The Nature of the Copyrighted Work”
1.4.3 “The Amount and Substantiality of the Portion Used”
1.4.4 “The Effect of the Use upon the Potential Market for or Value of the Copyrighted Work”
1.5 Creation and Commencement of Copyright
1.6 Ownership, Joint Ownership, and Works Made for Hire
1.6.1 Initial Ownership
1.6.2 Joint Ownership
1.6.3 Works Made for Hire
1.7 Formalities of Notice, Registration, and Deposit
1.7.1 Notice
1.7.1.1 Visually Perceptible Copies
1.7.1.2 Form of Notice
1.7.1.3 Location of Notice
1.7.1.4 Collective Works
1.7.1.5 Notice Under the Berne Act
1.7.2 Errors in Name or Date in the Notice
1.7.2.1 Under the 1909 Act
1.7.2.2 Under the 1976 Act
1.7.3 Omission of Notice
1.7.3.1 Under the 1909 Act
1.7.3.2 Under the 1976 Act
1.7.4 Registration
1.7.4.1 Under the 1909 Act
1.7.4.2 Under the 1976 Act
1.7.4.3 Incentives for Registration
1.7.4.4 Registration Under the Berne Act
1.7.5 Deposit
1.7.5.1 Purpose of Deposit
1.7.5.2 Exemptions from Deposit
1.7.6 Registration Procedures
1.7.7 Denial of Registration
1.8 Duration of Copyright
1.8.1 Works Created on or after January 1, 1978
1.8.2 Works Created but Not Published or Copyrighted before January 1, 1978
1.8.3 Works Copyrighted prior to January 1, 1978
1.8.4 Works Created between 1906 and 1921
1.9 Transfers
1.9.1 In General
1.9.1.1 Exceptions to the Writing Rule
1.9.1.2 Subsequent Transfers of Exclusive Rights
1.9.2 Mandatory Licenses
1.9.3 Recordation
1.9.4 Attachments of Other Interests
1.10 Renewal and Termination Rights.
1.10.1 The Rationale behind Renewal Rights and Termination Rights
1.10.2 The Renewal Right
1.10.3 Termination during the Extended Renewal Term
1.10.4 Termination of Transfers Made after January 1, 1978
1.10.5 Restoration of Copyright
1.11 Infringement
1.11.1 In General
1.11.2 Essential Elements of a Cause of Action for Copyright Infringement
1.11.2.1 Copyrightability of the Original Work
1.11.2.2 Formalities of Copyright
1.11.2.3 Ownership of Copyright
1.11.2.4 Copying of the Protected Work
1.11.2.5 Violation of Exclusive Right
1.11.2.6 Permission
1.11.2.7 Excuse
1.11.2.8 Defense
1.11.3 Actions for Infringement
1.11.4 Criminal Offenses
1.12 Remedies
1.12.1 Criminal Sanctions
1.12.2 Civil Remedies
1.12.2.1 Injunctions
1.12.2.2 Impoundment and Disposition of Infringement Articles
1.12.2.3 Damages and Profits
a. Actual Damages and Profits
b. Statutory Damages
1.12.2.4 Costs and Attorney’s Fees
1.13 Manufacture and Importation
1.13.1 Manufacturing Requirement
1.13.2 Importation Restrictions
1.13.2.1 Piratical Copies Exclusion
1.13.2.2 Territorial Exclusivity
1.14 Copyright Arbitration Royalty Panels
1.15 Copyright Protection and Management Systems
Chapter 1A THE LAW OF IDEAS
1A.1 General Principles
1A.1.1 Contract Law Protections
1A.1.1.1 Express Contracts
1A.1.1.2 Implied-in-Fact Contracts
1A.1.2 Fair Practices Protections
1A.1.2.1 Quasi-Contract
1A.1.2.2 Misappropriation or Unfair Competition
1A.1.2.3 Breach of a Confidential Relationship
1A.1.2.4 Trade Secrets.
1A.2 Subject Matter of Protectable Ideas
1A.2.1 Requirements of Novelty, Concreteness, and Nonpublication
1A.2.1.1 Novelty
1A.2.1.2 Concreteness
1A.2.1.3 Nonpublication
1A.2.2 Ideas Protected by Contract
1A.2.2.1 Ideas Protected by Express Contract
1A.2.2.2 Ideas Protected by Implied-in-Fact Contracts
1A.2.3 Ideas Protectable Under Fair Practices Standards
1A.2.3.1 Ideas Protectable Under Quasi-Contract
1A.2.3.2 Ideas Protected Against Misappropriation or Unfair Competition
1A.2.3.3 Ideas Protected Through a Confidential Relationship
1A.2.3.4 Ideas Protectable as Trade Secrets
1A.3 Exclusive Rights in Ideas
1A.4 Fair Use
1A.5 Creation and Commencement of Protection
1A.6 Ownership
1A.7 Formalities
1A.8 Duration
1A.9 Transfers
1A.10 Infringement
1A.10.1 Copying
1A.10.2 Against Whom an Idea Creator’s Rights May Be Enforced
1A.10.3 Defenses
1A.11 Remedies
Chapter 2 U.S. TRADEMARK AND UNFAIR COMPETITION LAW
2.1 General Principles
2.1.1 Jurisdiction
2.1.2 Rationale for Protection
2.1.3 Terminology
2.2 Subject Matter of Trademark
2.2.1 In General
2.2.2 Distinctiveness
2.2.3 Secondary Meaning
2.2.4 Unprotectable Marks
2.2.5 Famous Marks
2.2.6 The Anticybersquatting Consumer Protection Act
2.2.7 The ICANN/WIPO Arbitration of Domain Names
2.3 Exclusive Rights of Trademark
2.3.1 In General
2.3.2 Exclusive Market
2.3.2.1 Territory
2.3.2.2 Competing Products or Services
2.3.3 Famous Marks
2.4 Fair Use
2.5 Creation and Commencement of Protection
2.6 Ownership
2.7 Formalities of Registration and Notice
2.7.1 Registration
2.7.2 Principal versus Supplemental Register
2.7.3 Notice
2.8 Duration
2.9 Transfers
2.9.1 In General
2.9.2 Assignments
2.9.3 Licenses
2.10 Renewals and Termination
2.11 Unfair Competition
2.11.1 Common Law and State Statutory Law
2.11.1.1 Vocal Performance Imitations in Commercials
2.11.2 Section 43(a)
2.12 Infringement
2.12.1 In General
2.12.2 Elements of an Action
2.12.3 Defenses
2.13 Remedies
Chapters 3 PUBLICITY AND PRIVACY
3.1 In General
3.1.1 The Right of Privacy
3.1.2 The Right of Publicity
3.1.3 Publicity versus Privacy
3.1.4 Publicity/Privacy versus Trademark
3.1.5 Publicity, Privacy and State Jurisdiction
3.2 Subject Matter
3.2.1 In General
3.2.2 Publicity/Privacy and Copyright
3.3 Exclusive Rights
3.3.1 Performance
3.3.2 Adaptation
3.3.3 Personality Products
3.3.4 Endorsement
3.3.5 Reputation
3.4 Fair Use
3.4.1 First Amendment
3.4.2 Mimicry and Imitation
3.4.3 Fair Use Doctrine Test
3.4.4 Fine Arts Exception
3.4.5 First Sale
3.4.6 Public Domain Limits
3.4.7 Non-Endorsement Use
3.5 Creation and Commencement
3.5.1 Privacy
3.5.2 Publicity
3.6 Ownership
3.6.1 Privacy
3.6.2 Publicity
3.7 Formalities
3.8 Duration
3.8.1 Privacy
3.8.2 Publicity
3.9 Transfer
3.9.1 Privacy
3.9.2 Publicity
3.9.3 Privacy and Defamation
3.10 Infringement
3.10.1 Privacy-Appropriation
3.10.2 Publicity
3.10.3 Unfair Competition
3.10.4 Venue or Choice of Law
3.11 Remedies
3.11.1 Privacy
3.11.2 Publicity
Chapter 4 THE BERNE CONVENTION AND THE WIPO COPYRIGHT TREATY (GENEVA 1996)
A. The Berne Convention
4.1 In General
4.1.1 The Convention and the Union
4.1.2 Minimum Standards of Protection
4.2 Subject Matter of Copyright
4.2.1 Protectable Works
4.2.2 National Eligibility
4.3 Exclusive Rights in Copyrighted Works
4.3.1 Basic Rights
4.3.2 Limitations of the Basic Rights
4.3.3 Droit Moral/Moral Right
4.3.3.1 Droit Moral or Moral Right
4.3.3.2 Droit de Suite
4.4 Fair Use
4.5 Creation and Commencement
4.6 Ownership
4.7 Formalities of Notice and Registration
4.8 Duration of Copyright
4.9 Transfers
4.10 Termination and Renewal Rights
4.11 Infringement
4.11.1 Plaintiff
4.11.2 Applicability of the Berne Convention
4.11.3 Applicable Law
4.12 Remedies
4.13 Developing Nations
4.14 Members of the Berne Union
B. The WIPO Copyright Treaty (Geneva 1996)
4.15 In General
4.16 Key Treaty Provisions
4.16.1 WTC and Berne
4.16.2 Substantive Provisions
4.17 Adopting Parties
Chapter 5 THE UNIVERSAL COPYRIGHT CONVENTION (UCC)
5.1 In General
5.1.1 History
5.1.2 Difference between the UCC and Berne
5.1.3 National Treatment
5.2 Subject Matter
5.2.1 Protectable Works
5.2.2 National Eligibility
5.3 Exclusive Rights
5.3.1 Basic Rights
5.3.2 Limitations on Basic Rights
5.4 Fair Use
5.5 Creation and Commencement
5.6 Ownership
5.7 Formalities
5.8 Duration of Copyright
5.9 Transfers
5.10 Infringement
5.11 Remedies
5.12 Special Provisions
5.12.1 Protection of the Berne Union
5.12.2 Supremacy of Existing Multilateral or Bilateral Treaties
5.12.3 Developing Countries
5.13 Members of the UCC
Chapter 6 OTHER TREATIES: THE BUENOS AIRES CONVENTION, THE PHONOGRAM CONVENTION AND THE WIPO PERFORMANCES AND PHONOGRAMS TREATY
6.1 The Buenos Aires Convention
6.2 The Convention for the Protection of Producers of Phonograms against Unauthorized Duplication of Their Phonogram (Geneva 1971) (the Phonogram Convention)
6.2.1 In General
6.2.2 Membership
6.3 WIPO Performances and Phonograms Treaty (Geneva 1996)
6.3.1 In General
6.3.2 Treaty Signatories
PART II Commentaries on the Practice of Entertainment Law
Chapter 7 GENERAL PRINCIPLES OF THE PRACTICE OF ENTERTAINMENT LAW
7.1 Copyright Matters
7.1.1 Notice
7.1.2 Author’s Diary
7.1.3 Informal Copyright
7.1.4 Forms
7.1.5 Registration Review
7.1.5.1 Title
7.1.5.2 Authorship and Creation and Publication
7.1.5.3 Copyright Claimant
7.1.5.4 Previous Registration and Derivative Work or Completion.
7.1.5.5 Administrative Provisions
7.1.6 Copyright Fees and Deposit Accounts
7.1.7 Copyright Searches
7.1.8 A “Rear Window” Review
7.1.9 Restored Copyright Review
7.1.10 La Cienega Review
7.2 Clearing World Rights of an Underlying Source for Republication, Translation, and Adaptation
7.2.1 What Rights Are to Be Cleared?
7.2.2 Illustration: Adaptation Rights for Dramatic or Dramatico-Musical Adaptation
7.2.2.1 Dramatic Rights
7.2.2.2 Distinctions among the Dramatic Rights
7.2.2.3 Similarities among the Dramatic Rights
7.2.2.4 Adaptation Rights Issues
a. The Right to Adapt
b. Rights Flowing from the Adaptation
7.2.2.5 Territory of Rights
7.2.2.6 Music Rights
7.2.2.7 Title
7.2.2.8 “Fair Use”
7.2.3 The Source Material and Places to Begin
7.2.3.1 Direct Clues
a. Copyright Notice
b. Acknowledgments
c. Credits
d. Title and Subtitle
7.2.3.2 Deductions
a. The Writers and Authors Guilds
b. The Library
c. Collective Administration Organizations
d. The Clearance Departments of the Broadcast Networks
7.2.3.3 A Caveat
7.2.4 Profiling the Author
7.2.4.1 Which Copyright Law Applies?
7.2.4.2 Duration of Copyright
7.2.4.3 Rights Owners Deriving Their Authority through the Author
7.2.4.4 Co-authors or Collaborators
7.2.4.5 Author’s Guild or Society Membership
7.2.5 The Initial Publication
7.2.5.1 Books and Periodicals
a. Work-for-Hire Authors
b. Agency and Title
7.2.5.2 Dramatic Productions
a. The Production
b. The Producer
c. Music Publishers
7.2.6 Tracing the Chain of Title
7.2.7 The New Work
7.3 Thinking about Trademarks
7.3.1 What Is Protectable?
7.3.1.1 In General
7.3.1.2 Performers Names
7.3.2 The Creation and Protection of the Mark
7.3.3 Enforcement
7.4 Warranties and Representations
7.4.1 Original Work
7.4.1.1 Purchaser’s Concerns
7.4.1.2 Author’s Concerns
7.4.2 Infringement
7.4.2.1 Purchaser’s Concerns
7.4.2.2 Author’s Concerns
7.4.3 Publicity, Privacy, Libel, Slander, and Obscenity
7.4.3.1 Purchaser’s Concerns
7.4.3.2 Author’s Concerns
7.4.4 Performance
7.4.4.1 Purchaser’s Concerns
7.4.4.2 Author’s Concerns
7.5 Indemnification Issues
7.5.1 Indemnity or Subrogation Grant
7.5.2 Restrictions on Indemnification
7.5.2.1 Reciprocity
7.5.2.2 Amount of Indemnity or “Face Value”
7.5.2.3 Procedural Condition
7.5.3 Additional Protections
7.5.4 Restricting Additional Protections
7.5.5 Insurance
7.6 Billing Credit
7.6.1 Title Billing Credits
7.6.1.1 Talent’s Perspective
7.6.1.2 Marketer’s Perspective
a. Marketing
b. Audience Inducement
c. Talent Inducement
7.6.2 Advertising and Publicity Credits
7.6.2.1 Talents Perspective
7.6.2.2 Marketer’s Perspective
7.6.3 Merchandising and Commercial Tie-ins
7.6.3.1 Talent’s Perspective
7.6.3.2 Marketer’s Perspective
7.6.4 Artist’s Refusal of Credit
7.7 Issues of Personal Performance Obligations
7.8 Arbitration
7.9 The Confusing Problem of Profits
Chapter 8 THEATER
8.1 The Theater Industry
8.2 The Play and the Playwright
8.2.1 Ownership and Control
8.2.1.1 Ownership
a. Sole Authorship
b. Derivative-Work Authorship
c. Multi-Author Works
8.2.1.2 Control
a. Artistic Control
b. Economic or Exploitational Control
8.2.2 Grant of Rights
8.2.2.1 Option
8.2.2.2 Production Rights
a. First-Class or Broadway
b. Off-Broadway and Second-Class
c. Touring
d. LORT Productions
e. United Kingdom and Australia-New Zealand Rights
f. Workshop and Developmental Productions
g. Foreign, Stock and Amateur, Ancillary, and Audiovisual Rights
h. Promotional Rights
8.2.3 Royalties
8.2.3.1 Options
8.2.3.2 Standard Royalties
a. Share of Gross
b. Adjustments to Gross
c. Fixed-Fee Performances
d. Royalty Adjustments: Pre-and Postrecoupment Royalties
e. Royalty Adjustments: Touring
f. Royalty Adjustments: Losing Weeks
8.2.3.3 Royalty Pools
a. Participation
b. Royalty Participants’ Share
c. Minimum Royalties
d. Maximum Royalty
e. Accounting Periods
f. Implementation
8.2.4 Subsidiary Rights
8.2.4.1 Developmental and Precommercial Productions
8.2.4.2 LORT and Regional Theatre Productions
8.2.4.3 Broadway or Off-Broadway Productions
a. Broadway
b. Off-Broadway
8.2.4.4 Subsidiary Rights
8.3 Producers
8.3.1 Primary Producers
8.3.1.1 Nonprofit Primary Producers
8.3.1.2 Commercial Primary Producers
a. Limited Partnerships
b. Joint Ventures
c. Corporations
d. Limited Liability Company
8.3.2 Secondary Producers
8.3.3 Commercial First Class Financing
8.4 Directors and Choreographers
8.4.1 Functions
8.4.1.1 Directors
8.4.1.2 Choreographers
8.4.2 Economics
8.4.2.1 Primary Production
8.4.2.2 Secondary Productions
8.5 Actors
8.5.1 Basic Agreement
8.5.2 Star Contracts
8.5.2.1 Salary
8.5.2.2 Credit
8.5.2.3 Dressing Room Conditions
8.5.2.4 Term
8.6 Designers and Orchestrators
8.6.1 Designers
8.6.2 Orchestrators
Chapter 9 MOTION PICTURES AND TELEVISION
9.1 Structure of the Industry
9.1.1 Motion Pictures
9.1.2 Television
9.1.3 Integrated Entertainment Companies
9.1.4 Internet Distribution
9.1.4.1 Threatening Copyright
9.1.4.2 New Opportunities
9.2 Production Entities/Structuring the Deal
9.2.1 Motion Pictures
9.2.1.1 Packaging
9.2.1.2 Packagers
9.2.1.3 The Package and Acquired Rights
9.2.1.4 Motion Picture Accounting, “Net Profits” and Gross Participation
9.2.1.5 Production Entities and Financing
a. Self-Financed Productions
b. Negative Pickup Financing
c. Pre-sell Financing
d. Studio-funded Deals
9.2.1.6 Transfers of Ownership in a Film
9.2.2 Television
9.3 Producers
9.3.1 Motion Pictures
9.3.2 Television
9.4 Acquisition of Rights
9.4.1 The Nature of Motion Pictures and Television Programs
9.4.2 Underlying Rights
9.4.3 Acquired Rights
9.4.3.1 Ownership of Works or Rights from Which Rights Are Being Acquired
a. Preexisting
b. Commissioned Works
9.4.3.2 Term of Acquired Rights Ownership
9.4.3.3 Ownership of the Derivative Work
9.4.3.4 Right to Alter, Revise, Edit, or Amend
9.4.3.5 Right to Exploit Work in Any Medium
9.4.3.6 Right to Create Derivative Works Based on the Derivative Film/Program
9.5 Writers and the Writers Guild of America
9.5.1 Literary Material
9.5.1.1 Story
9.5.1.2 Treatment
9.5.1.3 The Format, the Bible, and the Breakdown
9.5.1.4 Screenplays and Teleplays
9.5.1.5 Rewrites and Polishes
9.5.1.6 Other Literary Materials
9.5.2 Acquired Rights
9.5.2.1 The Acquisition of Rights
a. Purchase and Assignment
b. Services Agreements
c. Purchase and Engagement
9.5.2.2 The Rights Acquired
a. Purchase and Assignments
b. Services Agreements
9.5.2.3 Delivery of Literary Material
9.5.2.4 Delivery of Good Title 9-24
9.5.3 Negotiating Motion Picture Deals and Contracts
9.5.3.1 Contracts for Films Derived from Other Art Forms
9.5.3.2 How to Negotiate Contracts, Deals in the Movie Industry
9.5.3.3 Defining Net Profits, Shares for a Motion Picture Deal
9.5.3.4 What to Include in Pacts Between Author & Film Company
9.5.3.5 The Finishing Touches on Movie, Author Pacts
9.5.4 Reversions and Turnarounds
9.5.5 Credit
9.6 Directors
9.6.1 Control
9.6.1.1 Preproduction
a. Preliminary Preproduction
b. Preparation Period
9.6.1.2 Production
9.6.1.3 Postproduction
9.6.2 Compensation
9.6.2.1 Fee
9.6.2.2 Additional Compensation
9.6.2.3 Reuse and Residuals
9.6.2.4 Expenses
9.6.2.5 Pension and Welfare
9.6.3 Credit
9.7 Actors
9.7.1 The Performance
9.7.1.1 Creation
9.7.1.2 Performance Conditions
9.7.1.3 Control over the Performance
9.7.1.4 Issues Preliminary to Performance
a. Script Approval
b. Make-up and Physical Appearance
c. Issues Concurrent with Performances
d. Postproduction Performance Issues
9.7.1.5 Use and Exploitation
a. Performance Rights
b. Use and Exploitation
9.7.2 Credit
9.7.3 Merchandising and Commercial Tie-Ins
9.7.4 Compensation
9.8 Insurance
9.9 Additional Intellectual Property Rights
9.10 Marketing, Promotion and Product Placement
Chapter 10 PUBLISHING
10.1 Nature of the Industry
10.1.1 Categories of Publications
10.1.1.1 Newspapers and Popular Periodicals
10.1.1.2 General Circulation Journals
10.1.1.3 Professional Publications
a. Commercial Trade Publications
b. Professional Journals
10.1.1.4 Trade Books
10.1.1.5 Reference and Educational Publications
10.1.2 Markets versus Publication Rights
10.1.3 The Marketing of Works
10.1.3.1 Submission
a. The Pitch
b. The Query Letter
c. The Proposal
d. The Written Work
10.1.3.2 Problems in Submission
10.1.4 Employee Writers versus freelance Writers
10.2 Freelance Periodicals Agreements
10.2.1 The Subject Work
10.2.2 Delivery
10.2.3 The Grant of Rights
10.2.3.1 Existing Licenses
10.2.3.2 Future Licenses
10.2.4 Warranties and Representations
10.2.5 Fee
10.2A Scholarly/Professional Journal Publication
10.2A.1 The Subject Work
10.2A.2 Delivery
10.2A.3 Grant of Rights
10.2A.4 Reservation of Rights
10.2A.4 Fees
10.3 Trade Book Contracts
10.3.1 The Grant of Rights
10.3.1.1 The Term
10.3.1.2 The Nature of the Grant
10.3.1.3 The Territory of the Grant
10.3.1.4 The Right Granted
10.3.2 Delivery of the Work
10.3.2.1 Delivery Date
10.3.2.2 Manuscript
10.3.2.3 Permissions
10.3.2.4 Nondelivery
10.3.3 Acceptance of the Manuscript
10.3.3.1 “Satisfactory Manuscript”
10.3.3.2 Right to Correct
10.3.3.3 Allocating Risk
10.3.4 Warranties and Representations
10.3.5 Compensation
10.3.5.1 Advances
10.3.5.2 Royalties
a. Monetary Share
b. Basis of Accountings
10.3.5.3 Subsidiary Rights
10.3.6 Reversions of Rights
10.4 Nontrade Book Agreements
10.4.1 Conflicting or Competing Works
10.4.2 Permissions
10.4.3 Updates and Supplements
Chapter 11 MUSIC
11.1 Music Publishing
11.1.1 The Exploitable Rights of a Musical Composition
11.1.1.1 Reproduction
11.1.1.2 Adaptation
11.1.1.3 Distribution
11.1.1.4 Performance
11.1.1.5 Display
11.1.2 Limitations on Musical Copyrights
11.1.2.1 Statutory Mechanical Royalties
11.1.2.2 Jukebox Exemption
11.1.2.3 Public Broadcasting
11.1.2.4 Sound Recordings
11.1.2.5 Digital Home Recording
11.1.2.6 Digital Audio Transmission
11.1.2.7 Small Public Establishments
11.1.3 Copyright Licensing Organizations
11.1.3.1 Music Publishers
11.1.3.2 Performing-Rights Societies
a. Membership/Affiliation
b. Licensing
1. The Blanket License
2. The Per-Program License
3. The Single-Song License
4. Other Licenses
5. Consent Decrees
c. Credit and Accounting
d. Policing
11.1.3.3 Mechanical-Rights Agencies
11.2 Music Collaboration
11.2.1 The Nature of the Work: Joint, Composite, or Derivative Works
11.2.1.1 Joint Works
11.2.1.2 Composite Works
11.2.1.3 Derivative Works
11.2.2 Duration and Nature of Protection
11.2.2.1 Duration of Protection
11.2.2.2 Nature and Shares of Ownership
11.2.3 Preexisting Obligations Affecting Collaborations
11.2.3.1 Prior Dispositions
11.2.3.2 Performing-Rights Society Affiliation
11.2.3.3 Music Publishing Agreements
11.3 Songwriter’s Agreements
11.3.1 Selecting the Music Publisher
11.3.2 The Transfer of Rights
11.3.2.1 Exclusive Songwriter’s Agreements
11.3.2.2 Individual Composition Agreement
11.3.2.3 Catalogue Acquisition
11.3.3 Royalties
11.3.3.1 Print Royalties
a. Pianovocal Editions
b. Folios
c. Collections
d. Other
11.3.3.2 Performing Rights
11.3.3.3 Dramatic Rights
11.3.3.4 Synchronization Rights
11.3.3.5 Mechanical Reproduction Rights
11.3.3.6 Other Rights
11.3.4 Miscellaneous Provisions
11.4 Subpublishing Agreements
11.4.1 Selecting a Subpublisher
11.4.2 Collection Agreements
11.4.2.1 Reasons for Entering into Collection Agreements
11.4.2.2 Terms
11.4.3 Subpublishing Agreements
11.4.3.1 Reasons for Entering into Subpublishing Agreements
11.4.3.2 Term
a. Term
b. Assigned Rights
c. Reserved Rights
d. Licensed Territory
e. Advance
f. Royalties
g. Accountings
11.5 Performance
11.5.1 The Concert Performer as a Business
11.5.1.1 Names and Trademarks
11.5.1.2 Selection of the Business Form
11.5.3 Repertoire
11.5.4 Touring
11.6 The Personal Appearance Contract
11.6.1 Conditions of Performance
11.6.1.1 Hotel
11.6.1.2 Ground Transportation
11.6.1.3 Security
11.6.1.4 Dressing Room
11.6.1.5 Food
11.6.2 Technical Conditions
11.6.2.1 Stage Crew
11.6.2.2 Stage Requirement
11.6.2.3 Electricity
11.6.2.4 Equipment
11.6.2.5 Performance Personnel
11.6.2.6 Safety Requirements11.6.2.7 Licensing11.6.3 Presentation Conditions
11.6.4 Compensation
11.6.4.1 Performance Fees
11.6.4.2 Underwriting Fees (Tour Support)
11.6.4.3 Ancillary Market Income
11.6.4.4 Merchandising Income
11.7 Recording Agreements
11.7.1 Types of Recording Agreements
11.7.1.1 Exclusive Artistes Agreement
11.7.1.2 Production Agreement
11.7.1.3 Master Purchase Agreement
11.7.2 Grant of Rights
11.7.2.1 Exclusive Artist’s Agreement
a. Performer’s Services
b. Term
11.7.2.2 Services
11.7.2.3 Recording Commitment
11.7.2.4 Excluded Services
11.7.3 Rights Granted
11.7.3.1 In the Recording
11.7.3.2 Rights in the Composition: Publishing
a. Publishing
b. Controlled Compositions
c. Rerecording Restriction
11.7.3.3 Publicity Rights
11.7.3.4 Merchandising Rights
11.7.3.5 Web Site Rights
11.7.3.6 Production Agreements
a. Production Company’s Services
b. Performer’s Services
c. Rights Granted
11.7.3.7 Master Purchase/Master License
11.7.4 Delivery and Control
11.7.4.1 Control
11.7.4.2 Delivery
11.7.5 Royalties
11.7.5.1 Advances and Recording Costs
11.7.5.2 Royalties
a. Artist’s Royalties
1. Base Rate
2. Adjustments
3. Statutory Royalties
4. Digital Phonogram Distribution
5. Alternate Royalties
b. Mechanical Royalties
11.7.5.3 Merchandising Income
11.7.5.4 Music Publishing Royalties
11.7.5.5 Music Videos/Videograms
11.7.6 Accounting and Cross-Collateralization
11.7.6.1 Accounting Periods
11.7.6.2 Reserves against Returns
11.7.6.3 Recoupment and Cross-Collateralization
11.7.6.4 Audit Rights
11.7.7 Bankruptcy
Chapter 12 AGENTS, MANAGERS AND LAWYERS
12.1 Professional Assistants and Advisors
12.2 Agents
12.2.1 Individual Agents
12.2.2 Talent Agencies
12.2.3 Agency Representation Agreements
12.2.3.1 Duration
12.2.3.2 Area of Representation
12.2.3.3 Commission
12.2.3.4 Collection Rights and Payment Obligations
12.2.3.5 Performance Goals
12.3 Personal Managers
12.4 Business Managers/Accountants
12.5 Lawyers
12.6 Conflicts of Interest
12.6.1 Self-Dealing
12.6.2 Representation of Competing Clients
12.6.3 Leveraging
12.6.4 Self Promotion
Chapter 13 THE INTERNET
13.1 The Internet: Industry or Ancillary Market
13.2 Threats to Copyright
13.3 Threats to Trademarks: Domain Names
13.3.1 Infringement
13.3.2 Dilution
13.4 Internet Broadcasting
13.5 Internet Distribution
13.6 Internet Contents
13.7 Service Providers as Common Carriers