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
1.1.1 The Constitution.
1.1.2 Copyright Revision Act of 1976.
1.1.3 Berne Convention Implementation Act of 1988.
1.1.4 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
1.3 Neighboring Rights
1.3.1 Semiconductor Chip Products.
1.3.2 The Performer's Copyright?
1.3.3 Protection of Original Designs
1.4 Exclusive Rights in Copyrighted Works
1.4.1 Copyright Rights
1.4.1.1 Reproduction
1.4.1.2 Adaptation
1.4.1.3 Publication
1.4.1.4 Performance
1.4.1.5 Display
1.4.1.6 Digital Audio Transmission
1.4.1.7 Internet Carrier Limitation
1.4.1.8 Collective Works
1.4.2 Moral Rights or the Droit Moral
1.4.2.1 The Right of Publication
1.4.2.2 The Right of Paternity
1.4.2.3 The Right of Integrity
1.4.3 Droit de Suite
1.4.4 Performer's Rights
1.5 Fair Use
1.5.1 "The Purpose and Character of the Use"
1.5.2 "The Nature of the Copyrighted Work"
1.5.3 "The Amount and Substantiality of the Portion Used"
1.5.4 "The Effect of the Use upon the Potential Market for or Value of the Copyrighted Work"
1.6 Creation and Commencement of Copyright
1.7 Ownership, Joint Ownership, and Works Made for Hire
1.7.1 Initial Ownership
1.7.2 Joint Ownership
1.7.3 Works Made for Hire
1.8 Formalities of Notice, Registration, and Deposit
1.8.1 Notice
1.8.1.1 Visually Perceptible Copies
1.8.1.2 Form of Notice
1.8.1.3 Location of Notice
1.8.1.4 Collective Works
1.8.1.5 Notice Under the Berne Act
1.8.2 Errors in Name or Date in the Notice
1.8.2.1 Under the 1909 Act
1.8.2.2 Under the 1976 Act
1.8.3 Omission of Notice
1.8.3.1 Under the 1909 Act
1.8.3.2 Under the 1976 Act
1.8.4 Registration
1.8.4.1 Under the 1909 Act
1.8.4.2 Under the 1976 Act
1.8.4.3 Incentives for Registration
1.8.4.4 Registration Under the Berne Act
1.8.5 Deposit
1.8.5.1 Purpose of Deposit
1.8.5.2 Exemptions from Deposit
1.8.6 Registration Procedures
1.8.7 Denial of Registration
1.9 Duration of Copyright
1.9.1 Works Created on or after January 1, 1978
1.9.2 Works Created but Not Published or Copyrighted before January 1, 1978
1.9.3 Works Copyrighted prior to January 1, 1978
1.9.4 Works Created between 1906 and 1921
1.10 Transfers
1.10.1 In General
1.10.1.1 Exceptions to the Writing Rule
1.10.1.2 Subsequent Transfers of Exclusive Rights
1.10.2 Mandatory Licenses
1.10.3 Recordation
1.10.4 Attachments of Other Interests
1.11 Renewal and Termination Rights.
1.11.1 The Rationale behind Renewal Rights and Termination Rights
1.11.2 The Renewal Right
1.11.3 Termination during the Extended Renewal Term
1.11.4 Termination of Transfers Made after January 1, 1978
1.11.5 Restoration of Copyright
1.12 Infringement
1.12.1 In General
1.12.2 Essential Elements of a Cause of Action for Copyright Infringement
1.12.2.1 Copyrightability of the Original Work
1.12.2.2 Formalities of Copyright
1.12.2.3 Ownership of Copyright
1.12.2.4 Copying of the Protected Work
1.12.2.5 Violation of Exclusive Right
1.12.2.6 Permission
1.12.2.7 Excuse
1.12.2.8 Defense
1.12.3 Actions for Infringement
1.12.4 Criminal Offenses
1.13 Remedies
1.13.1 Criminal Sanctions
1.13.2 Civil Remedies
1.13.2.1 Injunctions
1.13.2.2 Impoundment and Disposition of Infringement Articles
1.13.2.3 Damages and Profits
a. Actual Damages and Profits
b. Statutory Damages
1.12.2.4 Costs and Attorney's Fees
1.14 Manufacture and Importation
1.14.1 Manufacturing Requirement
1.14.2 Importation Restrictions
1.14.2.1 Piratical Copies Exclusion
1.14.2.2 Territorial Exclusivity
1.15 Copyright Arbitration Royalty Panels
1.16 Copyright Protection and Management Systems
Chapter 2 THE LAW OF IDEAS
2.1 General Principles
2.1.1 Contract Law Protections
2.1.1.1 Express Contracts
2.1.1.2 Implied-in-Fact Contracts
2.1.2 Fair Practices Protections
2.1.2.1 Quasi-Contract
2.1.2.2 Misappropriation or Unfair Competition
2.1.2.3 Breach of a Confidential Relationship
2.1.2.4 Trade Secrets.
2.2 Subject Matter of Protectable Ideas
2.2.1 Requirements of Novelty, Concreteness, and Nonpublication
2.2.1.1 Novelty
2.2.1.2 Concreteness
2.2.1.3 Nonpublication
2.2.2 Ideas Protected by Contract
2.2.2.1 Ideas Protected by Express Contract
2.2.2.2 Ideas Protected by Implied-in-Fact Contracts
2.2.3 Ideas Protectable Under Fair Practices Standards
2.2.3.1 Ideas Protectable Under Quasi-Contract
2.2.3.2 Ideas Protected Against Misappropriation or Unfair Competition
2.2.3.3 Ideas Protected Through a Confidential Relationship
2.2.3.4 Ideas Protectable as Trade Secrets
2.3 Exclusive Rights in Ideas
2.4 Fair Use
2.5 Creation and Commencement of Protection
2.6 Ownership
2.7 Formalities
2.8 Duration
2.9 Transfers
2.10 Infringement
2.10.1 Copying
2.10.2 Against Whom an Idea Creator's Rights May Be Enforced
2.10.3 Defenses
2.11 Remedies
Chapter 3 U.S. TRADEMARK AND UNFAIR COMPETITION LAW
3.1 General Principles
3.1.1 Jurisdiction
3.1.2 Rationale for Protection
3.1.3 Terminology
3.2 Subject Matter of Trademark
3.2.1 In General
3.2.2 Distinctiveness
3.2.3 Secondary Meaning
3.2.4 Unprotectable Marks
3.2.5 Famous Marks
3.2.6 The Anticybersquatting Consumer Protection Act
3.2.7 The ICANN/WIPO Arbitration of Domain Names
3.3 Exclusive Rights of Trademark
3.3.1 In General
3.3.2 Exclusive Market
3.3.2.1 Territory
3.3.2.2 Competing Products or Services
3.3.3 Famous Marks
3.4 Fair Use
3.5 Creation and Commencement of Protection
3.6 Ownership
3.7 Formalities of Registration and Notice
3.7.1 Registration
3.7.2 Principal versus Supplemental Register
3.7.3 Notice
3.8 Duration
3.9 Transfers
3.9.1 In General
3.9.2 Assignments
3.9.3 Licenses
3.10 Renewals and Termination
3.11 Unfair Competition
3.11.1 Common Law and State Statutory Law
3.11.1.1 Vocal Performance Imitations in Commercials
3.11.2 Section 43(a)
3.12 Infringement
3.12.1 In General
3.12.2 Elements of an Action
3.12.3 Defenses
3.13 Remedies
Chapters 4 PUBLICITY AND PRIVACY
4.1 In General
4.1.1 The Right of Privacy
4.1.2 The Right of Publicity
4.1.3 Publicity versus Privacy
4.1.4 Publicity/Privacy versus Trademark
4.1.5 Publicity, Privacy and State Jurisdiction
4.2 Subject Matter
4.2.1 In General
4.2.2 Publicity/Privacy and Copyright
4.3 Exclusive Rights
4.3.1 Performance
4.3.2 Adaptation
4.3.3 Personality Products
4.3.4 Endorsement
4.3.5 Reputation
4.4 Fair Use
4.4.1 First Amendment
4.4.2 Mimicry and Imitation
4.4.3 Fair Use Doctrine Test
4.4.4 Fine Arts Exception
4.4.5 First Sale
4.4.6 Public Domain Limits
4.4.7 Non-Endorsement Use
4.5 Creation and Commencement
4.5.1 Privacy
4.5.2 Publicity
4.6 Ownership
4.6.1 Privacy
4.6.2 Publicity
4.7 Formalities
4.8 Duration
4.8.1 Privacy
4.8.2 Publicity
4.9 Transfer
4.9.1 Privacy
4.9.2 Publicity
4.9.3 Privacy and Defamation
4.10 Infringement
4.10.1 Privacy-Appropriation
4.10.2 Publicity
4.10.3 Unfair Competition
4.10.4 Venue or Choice of Law
4.11 Remedies
4.11.1 Privacy
4.11.2 Publicity
Chapter 5 THE BERNE CONVENTION AND THE WIPO COPYRIGHT TREATY (GENEVA 1996)
A. The Berne Convention
5.1 In General
5.1.1 The Convention and the Union
5.1.2 Minimum Standards of Protection
5.2 Subject Matter of Copyright
5.2.1 Protectable Works
5.2.2 National Eligibility
5.3 Exclusive Rights in Copyrighted Works
5.3.1 Basic Rights
5.3.2 Limitations of the Basic Rights
5.3.3 Droit Moral/Moral Right
5.3.3.1 Droit Moral or Moral Right
5.3.3.2 Droit de Suite
5.4 Fair Use
5.5 Creation and Commencement
5.6 Ownership
5.7 Formalities of Notice and Registration
5.8 Duration of Copyright
5.9 Transfers
5.10 Termination and Renewal Rights
5.11 Infringement
5.11.1 Plaintiff
5.11.2 Applicability of the Berne Convention
5.11.3 Applicable Law
5.12 Remedies
5.13 Developing Nations
5.14 Members of the Berne Union
B. The WIPO Copyright Treaty (Geneva 1996)
5.15 In General
5.16 Key Treaty Provisions
5.16.1 WTC and Berne
5.16.2 Substantive Provisions
5.17 Adopting Parties as of January 15, 2003
Chapter 6 THE UNIVERSAL COPYRIGHT CONVENTION (UCC)
6.1 In General
6.1.1 History
6.1.2 Difference between the UCC and Berne
6.1.3 National Treatment
6.2 Subject Matter
6.2.1 Protectable Works
6.2.2 National Eligibility
6.3 Exclusive Rights
6.3.1 Basic Rights
6.3.2 Limitations on Basic Rights
6.4 Fair Use
6.5 Creation and Commencement
6.6 Ownership
6.7 Formalities
6.8 Duration of Copyright
6.9 Transfers
6.10 Infringement
6.11 Remedies
6.12 Special Provisions
6.12.1 Protection of the Berne Union
6.12.2 Supremacy of Existing Multilateral or Bilateral Treaties
6.12.3 Developing Countries
6.13 Members of the UCC as of January 15, 2002
Chapter 7 OTHER TREATIES: THE BUENOS AIRES CONVENTION, THE PHONOGRAM CONVENTION AND THE WIPO PERFORMANCES AND PHONOGRAMS TREATY
7.1 The Buenos Aires Convention
7.2 The Convention for the Protection of Producers of Phonograms against Unauthorized Duplication of Their Phonogram (Geneva 1971) (the Phonogram Convention)
7.2.1 In General
7.2.2 Membership Status on August 30, 2008
7.3 WIPO Performances and Phonograms Treaty (Geneva 1996)
7.3.1 In General
7.3.2 Treaty Signatories
PART II Commentaries on the Practice of Entertainment Law
Chapter 8 GENERAL PRINCIPLES OF THE PRACTICE OF ENTERTAINMENT LAW
8.1 Copyright Matters
8.1.1 Notice
8.1.2 Author's Diary
8.1.3 Informal Copyright
8.1.4 Forms
8.1.5 Registration Review
8.1.5.1 Title
8.1.5.2 Authorship and Creation and Publication
8.1.5.3 Copyright Claimant
8.1.5.4 Previous Registration and Derivative Work or Completion.
8.1.5.5 Administrative Provisions
8.1.6 Copyright Fees and Deposit Accounts
8.1.7 Copyright Searches
8.1.8 A "Rear Window" Review
8.1.9 Restored Copyright Review
8.1.10 La Cienega Review
8.2 Clearing World Rights of an Underlying Source for Republication, Translation, and Adaptation
8.2.1 What Rights Are to Be Cleared?
8.2.2 Illustration: Adaptation Rights for Dramatic or Dramatico-Musical Adaptation
8.2.2.1 Dramatic Rights
8.2.2.2 Distinctions among the Dramatic Rights
8.2.2.3 Similarities among the Dramatic Rights
8.2.2.4 Adaptation Rights Issues
a. The Right to Adapt
b. Rights Flowing from the Adaptation
8.2.2.5 Territory of Rights
8.2.2.6 Music Rights
8.2.2.7 Title
8.2.2.8 "Fair Use"
8.2.3 The Source Material and Places to Begin
8.2.3.1 Direct Clues
a. Copyright Notice
b. Acknowledgments
c. Credits
d. Title and Subtitle
8.2.3.2 Deductions
a. The Writers and Authors Guilds
b. The Library
c. Collective Administration Organizations
d. The Clearance Departments of the Broadcast Networks
8.2.3.3 A Caveat
8.2.4 Profiling the Author
8.2.4.1 Which Copyright Law Applies?
8.2.4.2 Duration of Copyright
8.2.4.3 Rights Owners Deriving Their Authority through the Author
8.2.4.4 Co-authors or Collaborators
8.2.4.5 Author's Guild or Society Membership
8.2.5 The Initial Publication
8.2.5.1 Books and Periodicals
a. Work-for-Hire Authors
b. Agency and Title
8.2.5.2 Dramatic Productions
a. The Production
b. The Producer
c. Music Publishers
8.2.6 Tracing the Chain of Title
8.2.7 The New Work
8.3 Thinking about Trademarks
8.3.1 What Is Protectable?
8.3.1.1 In General
8.3.1.2 Performers Names
8.3.2 The Creation and Protection of the Mark
8.3.3 Enforcement
8.4 Warranties and Representations
8.4.1 Original Work
8.4.1.1 Purchaser's Concerns
8.4.1.2 Author's Concerns
8.4.2 Infringement
8.4.2.1 Purchaser's Concerns
8.4.2.2 Author's Concerns
8.4.3 Publicity, Privacy, Libel, Slander, and Obscenity
8.4.3.1 Purchaser's Concerns
8.4.3.2 Author's Concerns
8.4.4 Performance
8.4.4.1 Purchaser's Concerns
8.4.4.2 Author's Concerns
8.5 Indemnification Issues
8.5.1 Indemnity or Subrogation Grant
8.5.2 Restrictions on Indemnification
8.5.2.1 Reciprocity
8.5.2.2 Amount of Indemnity or "Face Value"
8.5.2.3 Procedural Condition
8.5.3 Additional Protections
8.5.4 Restricting Additional Protections
8.5.5 Insurance
8.6 Billing Credit
8.6.1 Title Billing Credits
8.6.1.1 Talent's Perspective
8.6.1.2 Marketer's Perspective
a. Marketing
b. Audience Inducement
c. Talent Inducement
8.6.2 Advertising and Publicity Credits
8.6.2.1 Talents Perspective
8.6.2.2 Marketer's Perspective
8.6.3 Merchandising and Commercial Tie-ins
8.6.3.1 Talent's Perspective
8.6.3.2 Marketer's Perspective
8.6.4 Artist's Refusal of Credit
8.7 Issues of Personal Performance Obligations
8.8 Arbitration
8.9 The Confusing Problem of Profits
Chapter 9 THEATER
9.1 The Theater Industry
9.2 The Play and the Playwright
9.2.1 Ownership and Control
9.2.1.1 Ownership
a. Sole Authorship
b. Derivative-Work Authorship
c. Multi-Author Works
9.2.1.2 Control
a. Artistic Control
b. Economic or Exploitational Control
9.2.2 Grant of Rights
9.2.2.1 Option
9.2.2.2 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
9.2.3 Royalties
9.2.3.1 Options
9.2.3.2 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
9.2.3.3 Royalty Pools
a. Participation
b. Royalty Participants' Share
c. Minimum Royalties
d. Maximum Royalty
e. Accounting Periods
f. Implementation
9.2.4 Subsidiary Rights
9.2.4.1 Developmental and Precommercial Productions
9.2.4.2 LORT and Regional Theatre Productions
9.2.4.3 Broadway or Off-Broadway Productions
a. Broadway
b. Off-Broadway
9.2.4.4 Subsidiary Rights
9.3 Producers
9.3.1 Primary Producers
9.3.1.1 Nonprofit Primary Producers
9.3.1.2 Commercial Primary Producers
a. Limited Partnerships
b. Joint Ventures
c. Corporations
d. Limited Liability Company
9.3.2 Secondary Producers
9.3.3 Commercial First Class Financing
9.4 Directors and Choreographers
9.4.1 Functions
9.4.1.1 Directors
9.4.1.2 Choreographers
9.4.2 Economics
9.4.2.1 Primary Production
9.4.2.2 Secondary Productions
9.5 Actors
9.5.1 Basic Agreement
9.5.2 Star Contracts
9.5.2.1 Salary
9.5.2.2 Credit
9.5.2.3 Dressing Room Conditions
9.5.2.4 Term
9.6 Designers and Orchestrators
9.6.1 Designers
9.6.2 Orchestrators
9.7 Theatres
Chapter 10 MOTION PICTURES AND TELEVISION
10.1 Structure of the Industry
10.1.1 Motion Pictures
10.1.2 Television
10.1.3 Integrated Entertainment Companies
10.2 Production Entities/Structuring the Deal
10.2.1 Motion Pictures
10.2.1.1 Packaging
10.2.1.2 Packagers
10.2.1.3 The Package and Acquired Rights
10.2.1.4 Motion Picture Accounting, "Net Profits" and Gross Participation
10.2.1.5 Production Entities and Financing
a. Self-Financed Productions
b. Negative Pickup Financing
c. Pre-sell Financing
d. Studio-funded Deals
10.2.1.6 Transfers of Ownership in a Film
10.2.2 Television
10.3 Producers
10.3.1 Motion Pictures
10.3.2 Television
10.4 Acquisition of Rights
10.4.1 The Nature of Motion Pictures and Television Programs
10.4.2 Underlying Rights
10.4.3 Acquired Rights
10.4.3.1 Ownership of Works or Rights from Which Rights Are Being Acquired
a. Preexisting
b. Commissioned Works
10.4.3.2 Term of Acquired Rights Ownership
10.4.3.3 Ownership of the Derivative Work
10.4.3.4 Right to Alter, Revise, Edit, or Amend
10.4.3.5 Right to Exploit Work in Any Medium
10.4.3.6 Right to Create Derivative Works Based on the Derivative Film/Program
10.5 Writers
10.5.1 Literary Material
10.5.1.1 Story
10.5.1.2 Treatment
10.5.1.3 The Format, the Bible, and the Breakdown
10.5.1.4 Screenplays and Teleplays
10.5.1.5 Rewrites and Polishes
10.5.1.6 Other Literary Materials
10.5.2 Acquired Rights
10.5.2.1 The Acquisition of Rights
a. Purchase and Assignment
b. Services Agreements
c. Purchase and Engagement
10.5.2.2 The Rights Acquired
a. Purchase and Assignments
b. Services Agreements
10.5.2.3 Delivery of Literary Material
10.5.2.4 Delivery of Good Title 9-24
10.5.3 Negotiating Motion Picture Deals and Contracts
10.5.3.1 Contracts for Films Derived from Other Art Forms
10.5.3.2 How to Negotiate Contracts, Deals in the Movie Industry
10.5.3.3 Defining Net Profits, Shares for a Motion Picture Deal
10.5.3.4 What to Include in Pacts Between Author & Film Company
10.5.3.5 The Finishing Touches on Movie, Author Pacts
10.5.4 Reversions and Turnarounds
10.5.5 Credit
10.6 Directors
10.6.1 Control
10.6.1.1 Preproduction
a. Preliminary Preproduction
b. Preparation Period
10.6.1.2 Production
10.6.1.3 Postproduction
10.6.2 Compensation
10.6.2.1 Fee
10.6.2.2 Additional Compensation
10.6.2.3 Reuse and Residuals
10.6.2.4 Expenses
10.6.2.5 Pension and Welfare
10.6.3 Credit
10.7 Actors
10.7.1 The Performance
10.7.1.1 Creation
10.7.1.2 Performance Conditions
10.7.1.3 Control over the Performance
10.7.1.4 Issues Preliminary to Performance
a. Script Approval
b. Make-up and Physical Appearance
c. Issues Concurrent with Performances
d. Postproduction Performance Issues
10.7.1.5 Use and Exploitation
a. Performance Rights
b. Use and Exploitation
10.7.2 Credit
10.7.3 Merchandising and Commercial Tie-Ins
10.7.4 Compensation
§10.8 Defining "Proceeds"
§10.8.1 Defining Proceeds: "Profits" at the Gross Level
§10.8.2 Defining Proceeds: Where Gross Meets Net
§10.8.3 Defining Proceeds: Producer Level Participations
§10.8.4 Defining Net Proceeds: Income Realization
§10.8.5 Defining Profits: Audit and Collection Rights
§10.8.6 Defining Profits: Further Consideration
10.9 Insurance
10.10 Additional Intellectual Property Rights
10.11 Marketing, Promotion and Product Placement
Chapter 11 PUBLISHING
11.1 Nature of the Industry
11.1.1 Categories of Publications
11.1.1.1 Newspapers and Popular Periodicals
11.1.1.2 General Circulation Journals
11.1.1.3 Professional Publications
a. Commercial Trade Publications
b. Professional Journals
11.1.1.4 Trade Books
11.1.1.5 Reference and Educational Publications
11.1.2 Markets versus Publication Rights
11.1.3 The Marketing of Works
11.1.3.1 Submission
a. The Pitch
b. The Query Letter
c. The Proposal
d. The Written Work
11.1.3.2 Problems in Submission
11.1.4 Employee Writers versus freelance Writers
11.2 Freelance Periodicals Agreements
11.2.1 The Subject Work
11.2.2 Delivery
11.2.3 The Grant of Rights
11.2.3.1 Existing Licenses
11.2.3.2 Future Licenses
11.2.4 Warranties and Representations
11.2.5 Fee
§11.3 Scholarly/Professional Journal publication
§11.3.1 The Subject Work
§11.3.2 Delivery
§11.3.3 Grant of Rights
§11.3.4 Reservation of Rights
§11.3.5 Fees
§11.4 Trade Book Contracts
§11.4.1 The Grant of Rights
§11.4.1.1 The Term
§11.4.1.2 The Nature of the Grant
§11.4.1.3 The Territory of the Grant
§11.4.1.4 The Rights Granted
§11.4.2 Delivery of the Work
§11.4.2.1 Delivery Date
§11.4.2.2 Manuscript
§11.4.2.3 Permissions
§11.4.2.4 Nondelivery
§11.4.3 Acceptance of the Manuscript
§11.4.3.1 "Satisfactory Manuscript"
§11.4.3.2 Right to Correct
§11.4.3.3 Allocating Risk
§11.4.4 Warranties and Representations
§11.4.5 Compensation
§11.4.5.1 Advances
§11.4.5.2 Royalties
a. Monetary Share
b. Basis of Accountings
§11.4.5.3 Subsidiary Rights
§11.4.6 Reversions of Rights
§11.5 Nontrade Book Agreements
§11.5.1 Conflicting or Competing Works
§11.5.2 Permissions
§11.5.3 Updates and Supplements
Chapter 12 MUSIC
12.1 Music Publishing
12.1.1 The Exploitable Rights of a Musical Composition
12.1.1.1 Reproduction
12.1.1.2 Adaptation
12.1.1.3 Distribution
12.1.1.4 Performance
12.1.1.5 Display
12.1.2 Limitations on Musical Copyrights
12.1.2.1 Statutory Mechanical Royalties
12.1.2.2 Jukebox Exemption
12.1.2.3 Public Broadcasting
12.1.2.4 Sound Recordings
12.1.2.5 Digital Home Recording
12.1.2.6 Digital Audio Transmission
12.1.2.7 Small Public Establishments
12.1.3 Copyright Licensing Organizations
12.1.3.1 Music Publishers
12.1.3.2 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
12.1.3.3 Mechanical-Rights Agencies
12.2 Music Collaboration
12.2.1 The Nature of the Work: Joint, Composite, or Derivative Works
12.2.1.1 Joint Works
12.2.1.2 Composite Works
12.2.1.3 Derivative Works
12.2.2 Duration and Nature of Protection
12.2.2.1 Duration of Protection
12.2.2.2 Nature and Shares of Ownership
12.2.3 Preexisting Obligations Affecting Collaborations
12.2.3.1 Prior Dispositions
12.2.3.2 Performing-Rights Society Affiliation
12.2.3.3 Music Publishing Agreements
12.3 Songwriter's Agreements
12.3.1 Selecting the Music Publisher
12.3.2 The Transfer of Rights
12.3.2.1 Exclusive Songwriter's Agreements
12.3.2.2 Individual Composition Agreement
12.3.2.3 Catalogue Acquisition
12.3.3 Royalties
12.3.3.1 Print Royalties
a. Pianovocal Editions
b. Folios
c. Collections
d. Other
12.3.3.2 Performing Rights
12.3.3.3 Dramatic Rights
12.3.3.4 Synchronization Rights
12.3.3.5 Mechanical Reproduction Rights
12.3.3.6 Other Rights
12.3.4 Miscellaneous Provisions
12.4 Subpublishing Agreements
12.4.1 Selecting a Subpublisher
12.4.2 Collection Agreements
12.4.2.1 Reasons for Entering into Collection Agreements
12.4.2.2 Terms
12.4.3 Subpublishing Agreements
12.4.3.1 Reasons for Entering into Subpublishing Agreements
12.4.3.2 Term
a. Term
b. Assigned Rights
c. Reserved Rights
d. Licensed Territory
e. Advance
f. Royalties
g. Accountings
12.5 Performance
12.5.1 The Concert Performer as a Business
12.5.1.1 Names and Trademarks
12.5.1.2 Selection of the Business Form
12.5.3 Repertoire
12.5.4 Touring
12.6 The Personal Appearance Contract
12.6.1 Conditions of Performance
12.6.1.1 Hotel
12.6.1.2 Ground Transportation
12.6.1.3 Security
12.6.1.4 Dressing Room
12.6.1.5 Food
12.6.2 Technical Conditions
12.6.2.1 Stage Crew
12.6.2.2 Stage Requirement
12.6.2.3 Electricity
Chapter 13 AGENTS, MANAGERS, AND LAWYERS
