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Categotry Archives: Music Contracts

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Erin M. Jacobson quoted in Time magazine

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Categories: Articles, Music Contracts, Music Industry, Press, Record Labels, Tags: , , , , , , , , , , , , ,

Erin M. Jacobson is quoted in Time magazine regarding artist Halsey’s TikTok leak of one of her songs that is unreleased by her record label.

Read the article here.

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Erin M. Jacobson, Esq. quoted in the LA Times article about Prince Estate / Morris Day dispute over name “The Time”

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Categories: Articles, Music Contracts, Music Industry, Trademark, Tags: , , , , , , , , , , , , , , , , , , ,

Erin M. Jacobson, Esq. is quoted in the LA Times article about the trademark dispute over the name “The Time” between the Prince Estate and Morris Day. As the Prince Estate’s letter to Day offers a license to the use of the name, Erin comments on how trademark licenses generally are structured.

Read the article here.

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The New Book from Erin M. Jacobson, Esq. is now available!

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Categories: Copyright, Music Contracts, Music Industry, Music Publishing, Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Don’t Get Screwed! How to Protect Yourself as an Independent Musician by Erin M. Jacobson, Esq. is now available in both print and ebook versions.

About the Book:

There’s a lot of confusing information in the music business: copyright, different types of royalties, how to get paid, and how to not sign over rights you shouldn’t. Now there is a single resource that explains these concepts in an easy-to-understand format.

Written by Erin M. Jacobson, one of the music industry’s top lawyers, this book is a plain English, straight to the point, primer on the topics you need to understand to make important decisions about your music career.  

This book explains:
– what copyright really means and why you should register yours,
– the different types of royalties and how they actually apply in the real world so you can understand how and when your music earns money,
– how to collect the money your music earns,
– the contracts most needed by independent musicians and why they are important,
– traps to avoid, and
– real examples of mistakes musicians have made and how you can avoid making them too.

This book provides information from an industry insider that is not available in other publications, and is an empowering resource for new, upcoming, and seasoned musicians.

Click here to purchase a PRINT copy.

Click here to purchase the EBOOK.

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Erin M. Jacobson, Esq. Quoted Again in US Weekly

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Categories: Articles, Business, Legal Disputes, Legal Issues, Music Contracts, Music Industry, Record Labels, Royalties, Tags: , , , , , , , , , , , , , , , , , , , , ,

Erin M. Jacobson has been quoted again in US Weekly magazine regarding further developments in the Taylor Swift masters dispute.

Click here to read the article.

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Erin M. Jacobson, Esq. Explains Taylor Swift’s Music Drama

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Categories: Articles, Legal Disputes, Legal Issues, Music Contracts, Music Industry, Music Publishing, Record Labels, Tags: , , , , , , , , , , , , , , , , , , , , , ,

Erin M. Jacobson is interviewed in US Weekly magazine to explain how Big Machine is blocking Taylor Swift from performing her old songs.

Read the article here:  https://www.usmagazine.com/celebrity-news/news/taylor-swifts-music-drama-explained-can-big-machine-block-her/ 

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Erin M. Jacobson, Esq. on ABC’s Nightline

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Categories: Catalogue Acquisitions, Interview, Music Catalogues, Music Contracts, Music Industry, Record Labels, Royalties, Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Erin M. Jacobson, Esq. appeared on the 7/1/19 episode of ABC’s Nightline to discuss the current news issue of Scooter Braun’s purchase of Big Machine Records (and Taylor Swift’s master recordings).  You can see Erin’s segments at 5:40 and 6:30.
Click here to watch!

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I’m hiring!

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Categories: Business, Law, Music, Music Contracts, Music Industry, Music Publishing, Tags: , , , , , , , , , , , , , ,

I am hiring!  If you are a positive, smart, and capable potential employee who is passionate about music and protecting creators and rights’ owners, then please click on the links below to view available positions and apply:

Administrative Assistant

Paralegal

Associate Attorney

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5 Things to Do If You’ve Inherited a Music Catalogue

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Categories: Articles, Copyright, Legacy, Legal Issues, Music, Music Catalogues, Music Contracts, Music Industry, Music Publishing, Royalties, Terminations, Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By:  Erin M. Jacobson, Esq.

  1.  Call Me.

Seriously.  Call me.  I regularly work with legacy artists/songwriters/composers, heirs, and estates to protect and revitalize their catalogues.  I assess what they own, what the current state of the catalogue is, and the various options for the catalogue to increase income while protecting the legacy of the creator and the works.

  1. Assess What is There.

Decisions involving how to move forward with a catalogue can’t be made if one doesn’t know what (s)he has to work with.  The first step is to know what compositions are in the catalogue, what agreements are in place, and who is collecting the income.

If the details are fuzzy, don’t worry.  Most heirs and estates do not have previous experience with music catalogues and start with a vague idea.  It’s my job to assist in making those fuzzy details become clear so that my clients know what they have, what options are available, and implement a plan to move forward.

  1. Clean It Up.

Not only are the details of most inherited catalogues fuzzy, but the money is too.  Most older catalogues have a lot of mistakes in the maintenance and management of the catalogue which prevents the catalogue from reaching its earning potential.  I’ve worked on catalogues with 50-year old mistakes not corrected by the current owner, problems with chain of title, improperly handled derivative works, and more.  I fix the problems and get income flowing again.

  1. Terminate.

Copyright law provides a valuable gift to authors and heirs, which is the right to recapture ownership of copyrights.  That’s right — authors and their heirs can reclaim ownership and control over their rights and how they are exploited.  However, this gift comes with strict requirements as to when and how rights can be recaptured.  (See articles with more information hereand here.)  An attorney with extensive experience in copyright terminations is essential here, because there is only one chance to recapture rights – and that chance is lost if deadlines are missed or the procedure isn’t followed correctly.

  1. Decide a Plan of Action.

I frequently see legacy artists and songwriters, and their heirs, who have been misguided in the management of their catalogues, who have lost rights to recapture, who don’t realize their catalogues are under-earning, and who don’t know where to start.   The right advisors are tantamount to a successful recapture process and future for the catalogue.  Each catalogue is unique and each client has different goals for the catalogue, its income, and the preservation of its legacy.  Some options include negotiating a new deal for the catalogue, selling the catalogue, or self-publishing the catalogue.  I work specifically to achieve what is best for each catalogue and each owner of that catalogue, and the results most often include clarity of mind and increased income for beneficiaries of the catalogue.*

There is only one chance to reclaim ownership of a catalogue and revitalize it – and the catalogue deserves it.

Please contact me to assist you in taking care of your legacy catalogue.

 

*  Information stated is based on past experiences.  Results are not guaranteed.

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Attention Legacy Artists: 6 Things You Need to Know to Recapture Your Copyrights

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Categories: Articles, Business, Copyright, Legacy, Legal Issues, Music, Music Catalogues, Music Contracts, Music Industry, Music Publishing, Royalties, Terminations, Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By:  Erin M. Jacobson, Esq.

This article was first published on Billboard.com.

There has been a lot of buzz recently about songwriters and artists (or their heirs) recapturing copyright ownership of their songs – and youcanbelieve the hype.  Copyright law provides a chance for authors (or heirs of authors) to recapture ownership of the copyrights to works granted away many years ago, and the window allowed by the law to recapture those rights is now.[1] Recapturing rights can allow for an author or author’s heirs to negotiate better deals with higher royalty splits in their favor, sell catalogues for large sums of money, or finally regain control of how a catalogue is exploited and increase profits with the right team in place.

However, recapturing rights is a complicated business filled with many requirements and nuances.  Here are six things authors need to know about recapturing rights.

  1. Dates Matter

An author (or author’s heirs) can terminate grants of copyrights made before January 1, 1978 during a window beginning 56 years and ending 61 years from the original copyright date.[2]  However, notice of termination must be served on the current owner anytime between ten and two years before the date the author intends the rights to revert.[3]  For grants made after January 1, 1978, the calculation of when rights can be recaptured is based on the date of the grant, not the original copyright date.   These post-1978 grants may be terminated beginning at 35 or 40 years after the grant date (depending on the language in the grant)[4]with a five-year termination window. Again, notice of termination must be served on the current owner anytime between ten and two years before the date the author intends the rights to revert.[5]

Being proactive is one of the most important factors when it comes to recapturing rights.  As mentioned above, serving notice on the current owners of the copyrights is required to recapture rights.  Because of the additional requirement that this notice must be sent between ten and two years beforethe date the rights will revert, anyone intending to recapture rights must look at leasttwo years ahead.  If someone intending to recapture rights misses the notice window – rights cannotbe recaptured and the opportunity is forever lost. 

  1. Works for Hire Need Not Apply

If an author signed a work for hire agreement for the works in question, don’t bother.  Copyright Law specifically states that works for hire are not eligible for termination.[6]

  1. U.S. Rights Only

The termination provisions that are the subject of this article are part of United
States Copyright Law and therefore only apply to U.S. rights.  That means one can recapture U.S. rights, but not foreign rights.  Also, as of this writing, the chance to recapture is only applicable to U.S. contracts.[7]

  1. Masters are an Uphill Battle

Most discussions around recapture of copyrights refer to composition copyrights because compositions are generally more straightforward to recapture than master recordings.  Most record company contracts say that masters are works made for hire for the record company, and as explained above, works made for hire are not eligible to be terminated.  However, copyright law dictates that works made for hire must meet certain requirements to qualify as a work made for hire:  (a) it must be made by an employee within the scope of their employment, or (b) it must be specially commissioned by the owner of the work for hire, it must be agreed in writing, and the type of work must fall within one of nine categories designated by the law.[8]  “Master recordings” is not one of those nine categories.

While there have been a few instances where labels have quietly relinquished rights to masters and sworn all parties to secrecy, most record labels refuse to release rights to masters and instead negotiate with the artist to increase their royalty rates.  A higher royalty rate does not help artists whose masters are not being exploited and not earning money, but it is all in an effort for the labels to avoid setting a precedent.   Master recordings are record labels’ main assets and businesses cannot give away their assets without also giving away power and profit.

Unfortunately, this is an issue that will only be decided by litigation and/or copyright reform, and neither of those has happened yet.

  1. Relationships Matter

For pre-1978 grants, one author’s share may be terminated, rather than requiring co-writers to terminate together.  However, if an author’s heirs are the ones effecting termination, then a majority of those heirs must terminate together.

Post-1978 grants signed by more than one author require a majority of those authors to terminate the grant together, and if any one of more of those authors is deceased, then a majority of the heirs of each deceased author must sign instead.   However, there are exceptions to this rule if separate grants were signed.

Requiring multiple parties to sign the termination notices can be problematic if co-writers, or heirs fighting about estate issues, no longer speak.  Even if the parties may have lost touch over the years, it benefits everyone involved to coordinate and cooperate to recapture rights.

  1. Don’t Try This at Home, Kids

If not already apparent by reading this article, assessing eligibility for filing terminations and carrying out the proper procedures to recapture rights is extremely complex.  Furthermore, there are numerous nuances and requirements not discussed here that could also affect whether an author or an author’s heirs may recapture rights. Anyone seeking to recapture copyrights needs an attorney specifically focused on the music industry that also has extensive experience with assessing these issues and recapturing rights.  Not all entertainment attorneys understand music and not all music attorneys are experienced with terminations.

I regularly recapture rights for my clients, as well as advise them on protecting and revitalizing their catalogues, as I am in a unique position where I am deeply familiar with both older music and how to navigate those catalogues within today’s marketplace.  Being in this space also means I frequently see legacy artists and their heirs who have been misguided, who have lost their chance to recapture their rights, who don’t realize their catalogues are under-earning, and who don’t know where to start.   The right advisors are tantamount to a successful recapture process and future for the catalogue.

There is only one chanceto recapture copyrights, one chanceto regain control of one’s legacy, and one chance to get it right.  Choose wisely.

_____________________________________________________________________

[1]Depending on the circumstances of each individual work, as some works are not yet eligible, no longer eligible, or not eligible at all to recapture.

[2]U.S.C. 17 §304(c)(3) (1992).

[3]U.S.C. 17 §304(c)(4)(A) (1998).

[4]Post-1978 grants are terminable at 35 years after the date of the grant, however, if the grant’s language includes the right of publication for the work, then that five-year period begins either on 35 years after the date of publication, or 40 years after the date of the grant, whichever is earlier.

U.S.C. 17 §203(a)(3) (1998).

[5]U.S.C. 17 §203(a)(4)(A).

[6]U.S.C. 17 §304(c) (1992); U.S.C. 17 §203 (1998).

[7]There have been a couple of high profile disputes on this matter involving U.K. contracts (namely Duran Duran in one instance and Sir Paul McCartney in another), but Duran Duran lost in a U.K. lower court and subsequently settled, and McCartney settled without litigation.  Some other countries do have their own provisions for recapture of rights, but they vary by country and differ from U.S. law.

[8]U.S.C. 17 §101 (1992).

 

Disclaimer:  This article does not constitute legal advice.

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Erin M. Jacobson Speaking at Taxi Road Rally

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Categories: Music Contracts, Music Industry, Music Libraries, Speaking, Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

I will be speaking at the 2017 Taxi Road Rally, November 3-4, 2017!

Here is my schedule:

Friday, November 3, 2017 from 2:45-4:15 pm / La Guardia Room (Mezzanine Level / 2nd Floor)

Don’t Get Screwed! How to Protect Yourself as an Independent Musician with Erin M. Jacobson, Esq.  An explanation of the most common types of ways independent musicians and songwriters get screwed and how to protect yourself before it happens. This class will include real examples from artist’s careers, as well as a discussion on what contracts are necessary to prevent these scenarios, along with an opportunity for Q&A with music attorney Erin Jacobson.

(I will also participate in the mentor lunch on Friday.)

Saturday, November 4, 2017 from 4:30-6:00 pm /  La Guardia Room (Mezzanine Level / 2nd Floor)

Understanding Music Library Agreements with Erin M. Jacobson, Esq.  Music attorney, Erin M. Jacobson will talk about the types of deals offered and explain what contract terminology and certain clauses mean. You may bring printouts of particular clauses that have you stumped and Ms. Jacobson will read them and explain what they mean! This class could save you a world of hurt down the road. It’s a Do-Not-Miss session if you’re pitching to music libraries!

Looking forward to seeing you there!

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