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| Preface | |
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| Acknowledgments | |
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| Introduction | |
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| Selecting the Right Attorney | |
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| Personal Representation | |
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| Deal Makers: Why You Need Them | |
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| Deal Blockers: How to Get Past Them | |
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| Staying the Course or Calling It Quits | |
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| Investors: The High Costs of Low Finance | |
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| The Costs of Being Heard | |
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| Of Investors and Investment Agreements | |
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| Finding the Money | |
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| Internet-Specific Offerings | |
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| The Safe Harbor Disclaimer | |
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| Getting the Right Advice | |
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| Paying it Back | |
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| Overcalls and Conversions | |
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| Commissions | |
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| Should He Who Pays the Piper Call the Tune? | |
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| Advances: Why They Seem a Lot Like Loans (and Vice Versa) | |
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| A Sad Story and a Happy Story About Advances | |
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| Is One Person's Money Another Person's Motivation? | |
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| Royalties: Some Unvarnished Truths | |
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| How the Royalty Pie Is Sliced and Who Gets the Pieces | |
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| Recording Costs | |
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| Payment on Less Than 100% of Records Sold | |
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| "New" Technology? | |
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| "Special" Categories | |
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| Two Diabolical Deduction Devices | |
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| Reducing Mechanical Royalties | |
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| Special Issues Regarding Controlled Compositions | |
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| The Beat Goes On: Other Important Deductions | |
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| Prepayment of Royalties | |
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| The Myth of Royalty Escalations | |
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| Free Goods | |
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| Lost or Misplaced Royalties | |
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| Chipping Away at Post-Term Royalties: Synchronization Licenses | |
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| Accountings, Audits, and the Statute of Limitations | |
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| How Responsible Should Record Companies Be? | |
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| The Effects of Digital Downloading on Pricing and Royalties | |
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| Personal Management: The Whys, Wherefores, and Watch Outs | |
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| What a Personal Manager Should (and Should Not) Be Expected to Do | |
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| Managing the Five Stages of an Artist's Career | |
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| Remakes | |
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| KMMA Keep My Music Available-At All Costs | |
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| Choosing Your Manager | |
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| The Question of Clout | |
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| Paying Your Manager | |
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| The Term of the Agreement | |
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| Extending or Terminating an Artist-Manager Relationship | |
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| Breach of Contract in Artist-Manager Agreements | |
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| Managing Your Business and Your Financial Future: When "Show Me the Money" Isn't Enough | |
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| What a Business Manager Does | |
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| Finding the Right Person | |
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| Certified Public Accountants | |
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| Auditing the Auditor | |
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| What Kind of Business is Being Managed? | |
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| Should You "Do Business As" or Form a Partnership? | |
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| Money Means Options: Resisting the "Keep 'Em Poor" Philosophy | |
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| Managing Your Money | |
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| Making It and Saving It | |
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| When Your Jon Is More than a Gig: Employment Agreements and Disagreements | |
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| Term of Employment | |
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| Duties | |
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| Reporting Lines | |
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| Confidentiality and Competition | |
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| Stock Options | |
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| Perks | |
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| Termination | |
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| Relocation and Re-Relocation | |
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| Visas | |
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| Disability and Death | |
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| Provisions That Survive Termination | |
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| Vacations | |
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| Release and Settlement | |
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| Employment Issues Specific to the Music Industry | |
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| Variations of Royalty Calculations | |
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| Employment Agreements with Celebrities and Others Otherwise Engaged | |
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| Mail | |
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| The Ownership of Ideas | |
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| Record Producers: Are They as Sharp as Their Points? | |
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| How 25% Can Equal 100% | |
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| Cross-Collateralization: It Does Not Apply to the Producer | |
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| Producers' Royalty Provisions: The Basics | |
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| The Producer as Author of the Sound Recording | |
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| Producers and Neighboring Rights | |
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| Getting Your Record Heard: A Practical Guide to Marketing and Promotion | |
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| Marketing Tools | |
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| The Goal-Oriented Campaign | |
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| The Record Contract | |
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| Do Record Companies Know What They Are Doing? | |
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| Victim or Victor? | |
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| Television Campaigns | |
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| Radio Promotion | |
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| Airplay and Payola | |
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| The Same Old Song (Only the Coda Is New) | |
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| The Beginning of the End? | |
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| A Brief Look at the Promotional Picture-From the Artist's Point of View | |
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| Touring concerns: Trials and Tribulations | |
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| The Club Tour | |
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| The Grand Tour | |
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| Merchandising: Your Band; Your Brand | |
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| Tour Merchandising | |
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| Retail Merchandising | |
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| Confidentiality | |
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| Compliance with Local Laws | |
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| End-of-Term Inventory and Sell-Off | |
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| Artwork and Photographs | |
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| Coupling | |
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| Life and Disability Insurance | |
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| Piracy | |
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| Audits | |
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| Audits: Truth or Consequences | |
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| Examining the Audit | |
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| The Flow of Money | |
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| Access to Registration Information | |
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| The Black Box or "Something Is Abyss Here" | |
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| Television Campaigns | |
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| Interest Charges | |
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| Statutes of Limitations | |
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| Conducting Audits In Foreign Countries | |
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| A Few Practical Suggestions | |
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| The Right to Audit: A Contract Issue | |
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| Music Publishing: The Odyssey of the Song | |
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| What Is a Music Publisher-and What Does It Publish? | |
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| Copyright: A Bundle of Intangibles | |
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| Financial Secrets and Realities | |
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| Mechanical Royalty Rates Outside of the United States | |
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| Top Gun-A Top Buyout for Paramount | |
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| The Administrating Function | |
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| Family Ties (Too Close to Sue) | |
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| When Your Publisher Forgets You | |
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| Foreign Taxes | |
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| At-Source Versus Receipts Deals | |
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| The Black Box Revisited | |
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| Copyright Reversions | |
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| When Rodgers Meets Hammerstein: Determining Songwriter Credits | |
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| Cowriting Agreements | |
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| Cowriters Who Are Band Members | |
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| Being Your Own Music Publishing Company: Pros and Cons | |
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| Self-Publishing | |
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| Getting in Touch with the Copyright Office | |
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| Why Bother Doing It Yourself? | |
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| Acquiring Copyrights | |
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| Reversion of Copyrights | |
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| The Value of the Copyright | |
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| The Impact of Administrating Costs on True Earnings | |
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| The Cost of Giving Away a "Piece" of the Publishing | |
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| Internet Entrepreneurship: Doing it Yourself | |
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| Competing with the Big Boys | |
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| Artist, Songwriter, Performer-and E-Commerce Expert? | |
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| Making a Living | |
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| Stealing and Protecting Against It | |
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| Do's and Don'ts of Internet Entrepreneurship | |
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| Manufacturing and Distribution | |
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| Podcasting | |
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| Instantaneous Dissemination of Live Performances | |
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| Creating a Website | |
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| Which People Should Do It Themselves? | |
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| A Word of Warning-And Encouragement | |
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| Lost, Misplaced, Neglected, and Abandoned: Royalty Opportunities You Were Never Told About | |
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| An Introduction to Neighboring Rights | |
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| Broadcast Mechanicals | |
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| Neighboring Rights in Our Own Backyard: Canada | |
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| Lost, Misplaced, Neglected, Or Abandoned: Which Category Are Your Royalties In? | |
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| Show Me the Money | |
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| Two Neighboring Rights-Friendly Countries: The U.K. and the Netherlands | |
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| Urban Music: The Beat Goes On | |
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| Roots | |
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| The Milieu | |
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| Urban Music: The Producer's Cosmos | |
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| Different Strokes For Hip-Hop Folks | |
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| Rap as Protest | |
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| The Importance of the Mix | |
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| Career Ceilings | |
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| Hip-Hop and Pop Culture | |
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| Business Management and the Management of Business | |
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| The Changing Image | |
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| Contractual Issues | |
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| The Rap Coalition: Self-Help Exemplified | |
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| Hip-Hop Rules | |
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| Classical Music: Dead or Alive? | |
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| A Little History | |
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| Demise or Rejuvenation? | |
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| An Essential for Success: Spirituality | |
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| New Life for an Old Genre | |
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| The CD Arrives: Both a Blessing and a Curse | |
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| The Internet: Is It the Answer? | |
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| The Role of Record Companies | |
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| The Composer-Artist: Special Considerations | |
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| Classical Management | |
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| Presenting the Singer | |
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| Music Education | |
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| Termination of Grants Of Copyrights: For Every End, a Beginning | |
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| Basic Term of Protection | |
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| Termination of Grants | |
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| "K-K-K-Katy" | |
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| Duration of Copyright: Subsisting Copyrights | |
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| Who Can Terminate | |
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| The Control of Termination Decisions | |
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| The Rights Granted | |
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| The Windows for Termination | |
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| When Automatic Renewal Applies | |
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| The Sonny Bono Term Extension Act | |
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| Keeping Records | |
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| The Technical Requirements for Termination | |
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| Compliance With Copyright Laws: Hints for the Corporate Counsel | |
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| Intangible Rights and the Internet | |
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| Licensing From Music Publishers and Sound Recording Owners | |
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| Copyright Provisions Applicable to the Internet | |
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| Term of Copyright | |
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| Sampling, Borrowing, and Stealing | |
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| Rights Management | |
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| Dangerous Language Alert | |
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| Music Clearance: The Music Industry's Revenge | |
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| International Issues: One-Stop Shopping | |
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| Catalogue Valuation: How to Improve Your Odds at Winning Big | |
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| Factors in Valuing Catalogues: An Overview | |
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| Evaluating Data | |
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| Who Owns the Catalogue? | |
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| Termination Issues | |
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| The "Trunk" | |
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| Who's Sorry Now? The Blackbird | |
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| Copyright Issues: A Sampler | |
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| Changing Copyright's Image | |
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| Copyright Infringement | |
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| Sampling | |
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| The Impact of the Internet on Recording and Publishing Agreements | |
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| The Internet Is Global: So What? I'll Tell You What | |
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| What Is to Be Done? | |
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| The Fairness in Music Licensing Act | |
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| The Copyright Term Extension Act: A Lesson in Leverage | |
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| MP3: How Two Letters and a Numeral Terrorized an Entire Industry | |
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| Napster and Post-Napster | |
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| Copyright: Can't Live With It-Can't Live Without It | |
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| Battles or Battle-Axes | |
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| Copyleft (aka Copy Wrong), But Not Copyright | |
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| The Clearance Nightmare | |
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| Copyright and Personal Property | |
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| Misuse of Copyright | |
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| Some Suggested Solutions | |
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| Index | |