Index
Note: Italicized page numbers indicate a figure on the corresponding page. Page numbers in bold indicate a table on the corresponding page.
accounting clause in contract 546–8
accounting in recording deal 374
Adele (pop star) 270
administrative deal, music publishing 234–5, 235
administrative industry 153
advance (draw) on earnings 230–1, 373–4, 474
advances and recording fund clause in contract 540–2
advertising xix, 399–400, 427; see also marketing and sales; promotion/publicity and media
Advertising Age magazine 400
aesthetics in recordings 288
affiliate labels 360
age clause in contract 582
agencies and publicity clause in contract 573
agents/agencies: booking agents 157, 447, 469, 493–4; finding representation 215; literary agents 157; music business agents 167; overview 164–5; talent agencies 483; see also representation
Age of Enlightenment xxi
the all-ins in sharing economy 389–90, 397, 398
amateur creative marketplace 70–1
American Federation of Musicians (AF of M) 161, 167, 177, 280–1, 496–7
American Federation of Television and Radio Artists (AFTRA): employer terms in recording process 306, 307–9, 310; event contracts 496–7; overview 286; recording expenses 306, 310; representation 469; rhythm instrument recordings 161; sole proprietorship and 177, 179
American Society of Composers, Authors and Publishers (ASCAP) 250–2, 252
analog radio signals 414
Apple, Inc. 9
approvals clause in contract 557–8
arena size and profit 512, 514, 516
articles of organization 180
artist–owned publishing companies 232
artists: as business persons 137–9, 138, 139–40; development of 326–8; in preproduction process 294–5; riders in contracts 503
artists and repertoire department (A&R) 323–6, 325, 403, 412–13
assignment clause in contract 529–30, 567–8, 581
attorneys 370–1, 447, 453, 469–70
audio engineers 148–9, 281–3, 338, 342
authorship, defined 117, 162–3
Autonomous Nonprofit Organization 29
Avalon Project of the Yale Law School 91
Azoff, Irving 437
background vocalists (BGVs) 150–1, 284, 343, 447
backstage passes 503
Beauchamp, George 195
Bell, Alexander Graham xxi, 315
benefit of agreement clause in contract 529
Berline, Emile 289
Berne Convention 115
Bertelsmann Music Group 352
bidirectional pickup patterns 290
Billboard magazine 389, 399–400, 440–1
Billboard Mobile 410
binding effect clause in contract 529, 582
Bitnet 436
BitTorrent software 16, 17, 21
“black box” account 439
blanket licenses 169, 238, 248–9
Bloodworth, Raymond 202
BMG (Bertelsmann Music Group) 19
BMG Direct 426
Bocelli, Andrea 284
booking agents 157, 447, 469, 493–4
book rights xxiv
Brandenberg, Karlheinz 15
branding/image: development 328; promotion/publicity and media 404–6; wows 51–4, 54
break-even points 375
Broadcast Data Services (BDS) 249
broadcast signals 416
Brockton breakthrough 265
Brown, Larry Russell 199–202, 204
business entities clause in contract 580
Business Model Generation (Osterwalder, Pigneur) 136
business models: corporations 182–4; limited liability companies 179–82, 183; overview 137, 151–2; partnerships 179–2; sole proprietorship 177, 179
Capitalism, Socialism, and Democracy (Schumpeter) 19
Capital Records 314
carbon microphone invention 264
cardioid pickup patterns 290
career clause in contract 579–80
career steps 206
cartage and per diem costs 345
Cary, Don 271
Cash, Johnny 54
cash machine poker game 392
catalog valuation in music publishing 257–9
CD Baby 70
Chen, Steve 437
Clark, Dick 205
Coachella Valley Music and Arts Festival 496
Cobain, Kurt 472
“cold turkey” pitch 366
collective bargaining agreements clause in contract 553
college tours 507
Columbia Records 314
Come Together: The Business Wisdom of the Beatles (Courtney, Cassidy) 281–2
commission base 467
commitment album 372
communication with label 367
communicative link 71
Compendium of the U.S. Copyright Office Practices 34
competition questions 175–6, 184–5
competitive advantage of labels 363–4
compression effects 292
computers/digital games: history of 317–18; introduction xix; invention of xxii–xxiii; music production software 60; programs in recording process 302; storyline in 72
concert and event business: additional potential revenue 515; AEG Live 506; arena size and profit 512, 514, 516; artist’s riders 503; associated industries 493; award shows 508–10; backstage passes 503; bid sheets 510, 511–12; capital-intensive nature of 494–5; classical music market 507–8; college tours 507; festivals 495–6; green room 503; introduction 488–90, 489, 490, 491; merchandising 502–3; monetizing entertainment 491; new talent showcase 506–7; picking headliner 510, 513–14; profit and loss (P&L) statements 515–16, 517, 518, 518; profit margins 498–9; research on 495; road crews 504–5; scaling the house 512, 515; scalping 505–6; sponsoring radio stations 499; statistics on 494; tech riders 503–4; 360 deal 492–3; Ticketmaster and Live Nation 505; tour date approvals 497–8; types of deals 499–501; venues for events 498; virtual corporations 502
condenser mics 289
confidentiality clause in contract 568–9
consoles in recording 290
contingent scale in recording process 310–11
contracts: co-publishing agreements 231–4, 232; event contracts 496–7; exclusive recording artist agreement 532–70; fine print in contract 224–5; legal concerns 73–4; management contracts 463; music publishers/publishing obligations 260; personal management agreement 571–82; power-of-attorney 167; power-of-attorney in 523; representation label agreements 478–9; royalties clause 523–5, 526–7, 542–6; single-song contracts 222, 229, 233; single-song music publishing 521–31; the three wows 73–4; see also specific contract clauses
controlled composition clause (CCC) 243–5, 244, 383–4, 383
controlling law clause in contract 530, 582
Conyers, John 42
co-publishing agreements 231–4, 232
copyright concerns: assignment of copyright 521–2, 530–9; brief history of 90–1; creativity, value of 109–10, 110; digital entertainment market 95, 96–101, 102; electronic registration 121; entertainment business and 122; fair use rights 116–17, 129–30; fixation requirements 103–4, 105; illegal (pirated) music 32–3, 32, 43–4; intellectual property 102, 103, 103; introduction 87, 87–8, 88; legal foundations 105–7; legal protection 90–5, 93, 94; major copyright acts 95; in music publishing 225–6; overview 108; ownership rights from 239; patents 109; pirating concerns 122–4; property, defined 107; questions over 89–90; recordation certificate 120–1; registration certificate 118–20, 119–20; registration types 117–18; safe harbors 113–14; selling access 112–13; subscription music service 112; symbols of 65, 66; trademarks 108; World Copyright Treaty 115–16
Copyright Law 95
Copyright Office Circular 1 (2012) 33, 110
cost of doing business 357, 471, 471–2
cost vs. potential profit 394–5
Cox Media Group 418
Creative Artists Agency (CAA) 484, 510
creative business milieu 267–9
creative business model 489
creative destruction process xviii, 19–21, 20; see also illegal (pirated) music
creative development 328
creative technician questions 147–9
creativity, value of 109–10, 110
creativity industry questions 145–6
Cristofori, Bartolomeo 195
Cumulus Media 418
cyberattacks 356
Cyber Locker 21
Cyrus, Miley 450
Davis, Betty 316
Dawson, Devin 334
definitions clause in contract 562–7
de Havilland, Olivia 316
demo recording session 297
demo singers 285
description of services clause 371–2
Desylva, Buddy 314
development deals 378
digital entertainment market: copyright concerns 95, 96–101, 102; distribution 431; introduction 15–16; payment models for 113
Digital Millennium Copyright Act (1998) 438
digital radio 300
digital recording: advantages of 320–1; binary codes 319–20; overview 290–1, 318–19; tape recorders 298
digital storm 13
direct distribution deals 380
distribution and marketing businesses xxv
do business as (DBA) 137
do-it-yourself career 56–9, 58
drug-induced escapism 55
dynamic mics 289
echo effects 292
electromagnetic frequency 315
electronic registration 121
Elvis (pop star) 405
eMarketerDaily 403
the Emmys 509
employer terms in recording process 306, 307–9
entertainment attorney 453
entertainment business/industry: artist as business person 137–9, 138, 139–40; being informed and smart 111; business model 137; competition 184–5; entrepreneurship 136; establishment and 141–2; film industry 27–8, 161–2; future of 40–1; getting a shot 142–3; global entertainment ix; guide to lingo 583–601; introduction 135, 135; legal changes in 111–12; monetizing entertainment ix, ix–xxvii, xi–xvii; overview 203–4; ownership rights and 34; perspective 74–5; politics and 424; production businesses xxiv–xxv; projected growth 9; registration of business venture 185–6; start-up ventures 136–7; teamwork 81, 86; see also musicians/music industry; music publishers/publishing; Small Business Association; success in entertainment industry
entertainment business/industry, creativity: acoustics 287–8; aesthetics in recordings 288; audio engineers 281–3; consoles in recording 290; creative business milieu 267–9; creative vs. business approach 274–5; effects equipment 292–3; entrepreneurship 266–7, 272–4; generational brilliance 270–2; ingenious creative technicians 269–70; introduction 264–6; microphones 288–9; musicians, role in 277–9; musicians union 280–1; personal contribution to 272–4; pickup patterns 289–90; producers 275–7; professional level artists 270; recorders/software 290–1; recording artists 283–5; recording process 293–4; recording team 275; singers union 285–6; speakers in recording 291–2; studios 287; studio schedules 293; teams in 272
entertainment magic 191
entire agreement clause in contract 528–9
entrepreneurship in entertainment business 136, 266–7, 272–4
entry-level audio engineers 282
equity loss from illegal music downloads 25
establishment and entertainment business 141–2
European Court of Justice 438
European High Court 439
events of default clause in contract 551–3
exclusive recording agreement 369, 532–70
exclusive services clause in contract 532
executive promotion decisions 388–9
expenses, loans, and advances clause in contract 579
Facebook 411
Fairness in Music Act 250
fair use rights 116–17, 129–30
fame and representation 449–50
fan-based information 411
Fanning, John 17
Fanning, Shawn 17
Farnsworth, Philo 421
Federal Communication Commission (FCC) 414, 422–3
fifth-year goals 463
filtering systems in music publishing 219–20, 220
Final Cut Pro software 59
fines for illegal (pirated) music 35, 38
first overdub session costs 344
fixation requirements for copyright 103–4, 105
Forbes Magazine 419
four Ps: product, price, placement, and promotion 403
Fury Records 205
garage band musicians 278
gatekeepers 458
gates, defined 292
Generation Y 470
global entertainment ix
global Internet access xix
Global Music Rights (GMR) 257
Global Rights Services 437
Goodlatte, Bob 42
grant of rights clause in contract 522–3, 537–9
Greenberg, Sue 95
green room 503
group provisions clause in contract 559–62
guarantee plus bonus deal 500–1
guarantee plus percentage of net deal 500
guarantee vs. percentage of net deal 500
Gunn, Gordon 505
Gutenberg printing press xxi
harmonizers 292
Harry Fox Agency (HFA) 69–70, 238, 241, 246
headliner selection 510, 511–12
Heider, Wally 271
Henderson, Florence 450
House Judiciary Committee 41–4
House Un-American Activities Committee 424
How Music Got Free (Witt) 17
Hurley, Chad 437
ideal customer questions 154–9, 156–7, 159
illegal (pirated) books/films 122–4
illegal (pirated) music: BitTorrent software 16, 17, 21; capitalism and 27–8; change in business model 3, 11; communism/socialism 28–9; consequences from 23–4; consumer behavior 31–2; copyright concerns 32–3, 32, 42–3; Creative Circle 36–7, 391; decrease in music sales from 22, 22; devastation from 22–3; digital entertainment market 15–16; digital receivers 14; digital signals 13; digital storm 13; double shuffle 26–7; entertainment, value of 39–40; equity loss from 25; fines for 35, 38; image-consulting research 7–8; innovation reality 9–11, 10, 10; insider perspective 6–7; introduction 1, 2, 1–3; lost revenue from 4–5, 5; Napster 17–19, 20; negative media trends 26; ownership rights 34–5, 35; “perfect storm” phrase 11–13; popular culture 30–1; process of change 8–9; projected entertainment industry growth 9; property rights 33–4; reality of innovation 375; record sales, decline 14–15; talent, value of 38–9, 44, 45; thrill of 21–2; transitions of revenue 24–5
image/brand development 327, 374
indemnification clause in contract 527–8
independent artists, writers, performers 77–81, 78–80
independent contractors 374
indie recording session 305
ingenious creative technicians 269–70
injunctive relief clause in contract 553
innovation reality 9–11, 10, 10
instruments of creativity 195
intellectual property 102, 103, 103, 107–8
International Alliance of Theatrical Stage Employees (IATSE) 168, 493, 504, 512
International Creative Management (ICM) 484
International Entertainment Buyers Association (IEBA) 506–7
International Federation of Phonographic Industry (IFPI) x, 18, 152
International Federation of the Phonographic Industry 268
Internet service providers (ISPs) 428
labels and music companies see recording labels
Lady Gaga (pop star) 405
Lang, Hubert 507
large-venue productions 168
lead musician pay scale 342
legal concerns: contracts 73; departments of recording labels 322; foundations of copyright 105–7; overview 169–70; structure of business 177–84, 178, 183, 184
Lehman-Haupt, Christopher 12
Leibniz, Gottfried Wilhelm 319
Leichtman Research Group 26
Levitin, Daniel 190
Library of Congress 214
Library of Congress Copyright 118
Library of Congress Copyright Office 163
licenses for musical compositions clause in contract 549–51
licenses/licensing: blanket licenses 169, 238, 248–9; for business 180; cover songs, licensing 245–6; folio licenses 237, 238; music publishing 90, 237; process of 236–40, 240; public performance licenses 237, 248–9; reproduction (mechanical) licenses 237; synchronization licenses 237, 253–4
Lidestri, Jim 441
Lightfoot, Gordon 54
Lillian Goldman Law Library 91
limited liability companies (LLCs) 179–82, 183
limited power of attorney 467
limited pressing recording session 304
Lions Gate 215
literary agents 157
local market representation 447–8
location of business 171
logs, defined 298
low-budget movies 396
low-budget recording session 304
McCarthy, Joseph 424
magnetic recording 315
major independent producers 277
major labels 321
management contracts 463
manager authority clause in contract 573–4
manager commission mistakes 473–4
manager’s compensation clause in contract 575–7
manager’s other businesses clause in contract 580–1
market changes 74
marketing and publicity clause in contract 559
marketing and sales: defined 403; experts in 447; Nielsen Marketing 407–8, 407; overview 404; potential markets 158–9; promotion/publicity and media 406, 408, 412–13; recording label changes 430; target marketing, radio 419; see also promotion/publicity and media
marketing restrictions clause in contract 540
mass merchandisers 426
mastering stage 301
master lease deals 379
master recordings 164
master scale recording session 303–4
materials in recording deal 373
mechanical statutory rates 241–3
media industries, defined ix, 168–9
meet cute, defined 271
merchandising clause in contract 568
metadata, defined 152
microphones in recordings 288–9
miscellaneous clause in contract 569–70
mixdown session costs 345
modification clause in contract 582
monetizing Entertainment ix, ix–xxvii, xi–xvii
Monterey Jazz Festival 496
MP3 software 15
music and the brain 190–1, 191
music business agents 167
Music Business Worldwide 42
Music Business Worldwide (MBI) x
musicians/music industry: administrative deal, music publishing 234–5, 235; career musicians 462–3; catalog valuation in music publishing 257–9; classical music market 507–8; creative destruction process xviii; indie music deals 231, 229–30; jam band musicians 278; lead musician pay scale 342; music business agents 167; music publishing licenses 90, 237; music wow 50–1, 51; road musicians 278–9; role in entertainment business 277–9; selling access to music 112–13; shark deals 236, 235–6, 380; side musician pay scale 342; single-song music publishing 521–31; staff deals, music industry 230–1, 231; studio musicians 279, 296; subscription music service 112, 432; working musicians 278; wow songs 50–1, 51; see also illegal (pirated) music; recording labels; streaming music
MusicMark 249
Music Net 17
music publishers/publishing: administrative deal 234–5, 235; analysis of 249–50; associations for 240–1; catalog valuation 257–9; contractual obligations 260; controlled composition clause 243–5, 244; co-publishing agreements 231–4, 232; copyright ownership 225–6; figuring royalties 259; filtering systems 219–20, 220; fine print in contract 224–5; folio and print sheet music 254–6, 255; foreign mechanicals 247–8; free Internet marketplace 218–19; future trends 256; Global Music Rights 257; indie music deals 231, 229–30; investing earnings 259–60; license to publish 90; mechanical statutory rates 241–3; notice of intent 246–7; overview 160, 207–9, 208; payment rates/schedules 250–3, 252; royalties 222, 224; royalty check amounts 261; shark deal 236, 235–6; single-song contracts 222, 229, 233; sources of revenue 261–2; splits and shares 223–4, 223; staff deals 230–1, 231; staff writer termination 260–1; taking a shot at 220–1, 222; types of deals 221, 223; wannabe test market 218; work-made-for-hire deal 226–9, 227; see also licenses/licensing
music video budget mistakes 476–7
MySpace 411
names and likeness clause in contract 525
narration significance: career steps 206; constructionism 191–3; entertainment magic 191; finding an agent 215; instruments of creativity 195; introduction 189; message of 189–90; music and the brain 190–1, 191; music publishers 207–9, 208; networking 200–2; odds of wow 205–6; the pitch 214–15; professional organizations 211; professional review of creative work 206–7; psychographics 193–4; reputation 204–5; shameless self-promotion 205; songwriting principles 197–200, 201; special talent of 209–11; understanding the system 214; writing professionally 196
Nashville Songwriters Association International (NSAI) 211
National Academy of Recording Arts and Sciences (NARAS) 509
National Association of Campus Activities (NACA) 506
National Music Publishers Association of America (NMPA) 237, 240–1
News, Talk, and Information 419
next big thing 453
niche labels 161
nickel-iron battery invention 265
Nielsen Marketing 407–8, 407, 419
Noise: The Political Economy of Music (Attali) 41–2
non-exclusivity clause in contract 573
non-union recording session 305
notice of breach clause in contract 529, 580
offers of employment clause in contract 579
omnidirectional pickup patterns 290
one-stop stores 426
Online Copyright Infringement Limited Liability Act (1998) 438
operating agreement 180
O’Reilly, Louis 49
original works, suits and legal actions 527
ownership, defined 117
Pandora radio 432
paparazzi photos 331
patent infringement 5
patents, defined 109
Paul, Les 298
Pavarotti, Luciano 284
payment rates/schedules in music publishing 250–3, 252
payola 401
payroll departments of recording labels 323
Peebles, “Hap” 507
The Perfect Storm: A True Story of Men Against the Sea (Junger) 12
performance rights organization (PRO) 69, 248
performing artists 454, 456, 488
per-inquiry advertising 427
Perlman, Itzhak 284
personal management agreement 571–82
personal managers 454–5, 464–5
personal manager’s expenses clause in contract 578–9
personal manager’s services clause in contract 571–2
Peters, Marybeth 246
Pew Research Center 403
Pfleumer, Fritz 315
phonograph invention 264
pink noise in control room 291
pirated music see illegal (pirated) music
points, defined 283
politics and entertainment business 424
poor-selling record releases 394
Pop Contemporary Hit Radio (CHR) 419
Poulsen, Valdemar 315
power of attorney 167, 465–7, 466, 523
PricewaterhouseCoopers (PwC) ix–x, xviii, 40
pricing questions 176
Prime Music (Amazon.com) 433
producers: industry questions 146–7; overview 163; payment scale 338; in preproduction process 295–6; role in entertainment business 275–7; superproducers 303
product development 328
product financing 396
products/services questions 159–70, 174–5
professional advantage 75
professional experience 352
professional level musicians 270
professional opportunities 76
professional organizations 211
professional review of creative work 206–7
profit and loss (P&L) statements: concert and event business 515, 517, 518, 518; overview 38; success in entertainment industry 355, 357–8
profit motive 73
profit timeline 175
promotion branding labels (PBLs) 362–3
promotion/publicity and media: the all-ins in sharing economy 389–90, 397, 398; analog radio signals 414; apps for 431–2; baseline expenses 398–400; branding 404–6; broadcast signals 414; budgets for 400; cash machine poker game 392; cost vs. potential profit 390–1; development in 403–4; digital distribution 431; digital receivers 415; digital signals 415; entertainment media and politics 424; executive decisions 388–9; failure 400–1; marketing and sales 403, 412–13, 408; media promotion 408–9, 416; media publicity 409; movie companies 164, 423–4; Nielsen Marketing 407–8, 407; overview 165; process 328–9; product financing 396; profit chances 389; publicity campaigns 406; quicksand risk 424–5; rejected projects 392–3; representation expenses 477; retail distribution 425–7; risk management 393–6; risk vs. profits 390–1, 391; shameless self-promotion 205, 330–1, 406; social media networking 408–9; SoundExchange 420; star factor, publicity budget 482; subscription music service 112, 432; success with 402–3; talk show circuit 410; timing 391–2; website promotion 430–1; see also marketing and sales; radio
property, defined 107
property rights: conflict over 126–7; Google lawsuit 127–31; overview 33–4; U.S. Constitution and 124, 128–9
Pro Tools 56, 60, 66, 281, 462
psychographic lifestyle analysis 55
psychographic research data trends 404
publicists 447
publicity campaigns 406
publicity overview 166
public performance licenses 237, 248–9
public relations campaign 471, 471–2
publishers/publishing see music publishers/publishing
rack jobbers 426
radio: AirPlay Direct 420–1; Billboard magazine 389, 398–400, 440–1; BuzzAngle.com 441–2; day parts 416–17, 417; as event sponsors 499; invention of xxi; overview 414; programmers 415; programming 417; talk show appearances 409; target marketing 419; tours 406–7, 443; Variety magazine 442–3
receipt of artist’s compensation clause in contract 574–5
recording artists (royalty artists) 283–5, 343
recording budget 336, 336–7, 337, 338, 339–41, 342–6, 373, 473
recording commitment clause in contract 533–4
Recording Corporation of America (RCA) 314
recording deals: attorneys 370–1; break-even points 375–6; deal memo 368–9; deal points 371–4; development deals 378; direct distribution deals 380; financial aspects of 381; getting a deal 364–5; independent deals 378–9; major deals 369–70; master lease deals 379; other types of deals 377–8; overview 284; partnership deals 379; recoupment deals 376–7; shark deals 380; vanity deals 380–1
recording elements and procedures clause in contract 534–7
Recording Industry Association of America (RIAA): future music publishing trends 256; introduction x; Napster 18–19; record sales awards 439–40; research and metadata 152–3
recording labels: artists and repertoire department 323–6, 325; artists development 326–8; break-even points 375–6; conclusion 346; cost of doing business 335–6; free goods 334–5; history of computers 317–18; introduction 313–14; legal departments 322; magnetic recording 315; major labels 321; market and sales changes 429–30; marketing and sales 331–2; mash-ups 334; overview 160–1, 314–15; promotional copies 335; promotion process 328–9; publicity process 329–30; recording budget 336, 336–7, 337; retail distribution 332; royalty/payroll departments 323; shameless self-promotion and 330–1; staff producers 277; the star system 315–17; streaming music royalties 332–3; team member scales and budget 338, 339–41, 342–5; tour support and marketing 329; traditional business model 321–2
recording process: basic tracks 296–8, 297; budget expenses 306, 310; computer programs 302; contingent scale 310–11; employer terms 306, 307–9, 310; mastering stage 301; mixdown stage 300–1, 301; overdubbing 298–300, 299; overview 293–4; preproduction process 294–6; session expenses 337; superproducers 303; types of sessions 303–5
recording team 275
registration certificate 118–20, 119–20
registration of business venture 185–6
relationship of parties clause in contract 529
representation: advance, mistakes with 474; advice and consent 455–8; artist management publicity 470–1; attorneys 370–1, 447, 469–70; booking agents 157, 447, 469; business managers 468; buzz, importance of 449; career musicians 462–3; career team 451–2, 452; chain of 453; commission base 467; cost of doing business 471, 471–2; Creative Artists Agency 484; early termination 463–4; failure to plan ahead 476; fame 449–50; fifth-year goals 463; first-year goal 459–60; gatekeepers 458; gross vs. net 467–8; International Creative Management 484; introduction xxv–xxvi, 447; label agreements 478–9; local market 447–8; manager commission mistakes 473–4; music video budget mistakes 476–7; networking 200, 202, 450–1; next big thing 453; options in 461, 460–2; passion for success 448; performing artists 456, 456; personal managers 454–5, 464–5; post-term management royalties 464; power of 453, 457; power of attorney 465–7, 466; promotion and publicity expenses 477; recording budget mistakes 473; retainer/overpayment mistakes 474–5; social media and press kits 481, 482; songwriters 455, 455; stage names 481; stardom and taxes 475–6; star factor, publicity budget 482; talent agents/agencies 482–3; third-year goal 460; 360 deal 479–80; timing 465; tour/road managers 468; trust in 459; United Talent Agency 484–5; William Morris Endeavor Entertainment 485–7; workable business model 480; see also agents/agencies
reproduction (mechanical) licenses 237
retail distribution 332, 425–7
reverberations 293
reviews of counsel clause in contract 581
ribbon mics 289
right-to-work laws 305
Roddenberry, Gene 393
Rosen, Hillary 18
royalties: check amounts 261; clause in contract 523–5, 526–7, 542–6; controlled composition clause 383–4, 383; figuring royalties 259; overview 221, 223; payroll departments 323; points on recording sales 384–5; post-term management royalties 464; in recording deal 374; songwriting royalties 224; streaming music 332–3
royalty artists see recording artists
royalty departments of recording labels 323
sales see marketing and sales
Sarnoff, David 421
SBA see Small Business Association
scaling the house 512
Schumpeter, Joseph 19
Scott de Martinville, Édouard-Léon 313–14
Screen Actors Guild and the American Federation Television Recording Artists (SAG-AFTRA) 285–6
Seagram Liquor of Canada 358
second overdub session costs 344–5
self-promotion deal 501
selling access to music 112–13
shameless self-promotion 205, 330–1, 406
sharing economy: the all-ins 498; cost of doing business 396–7; free goods 401–2; overview 429; promotional copies 402
showcases 365
side musician pay scale 342
Silver Bells (Livingston, Evan) 197–9
single-song contracts 225, 229, 233
single-song music publishing 521–31
slap, defined 293
Small Business Association (SBA): competition questions 175–6; creative advantage 171; employee questions 171–2; ideal customer questions 154–9, 156–7, 159; legal structure of business 177–84, 178, 183, 184; loan needs 173–4; location of business 171; overview 142; pricing questions 176; products/services questions 159–70, 174; profit timeline 175; start-up capital needs 173; supplier questions 172; tax questions 184; time/money questions 170; what kind of business 145–53; why start a business 143–5
social media 408–9, 410–11, 481, 482; see also YouTube
song pluggers 457
Songwriters Guild of America (SGA) 211
songwriters/songwriting: agenda in 207–10; cover songs, licensing 245–6; principles 197–200, 201; representation 453, 455; royalties 224; single-song contracts 222, 229, 233; single-song music publishing 521–31; wow songs 50–1, 51, 201, 201, 349
Sony Bono Act 94
Sony Pictures Entertainment 355–6
sound engineers 282
Sound Recording Labor Agreement 280
The Special Report From the Office of the President of the United States (2015) 5
specialty labels 362
splits and shares in music publishing 223–4, 223
SRLS (suggested retail list price) 425
staff deals, music industry 230–1, 231
staff engineers 282
staff writer termination 260–1
stage crew 405
stage names 481
star factor, publicity budget 482
start-up capital needs 173
Star Wars merchandise 74
status of parties clause in contract 582
Statute of Anne 90–1, 122, 124
Stewart, Jimmy 316
straight guarantee deal 500
strategic management plan 447
streaming music: “black box” account 439; changing attitudes with 428; introduction xix; overview 112, 433; payments for 436–7; rates 70–1; revenues vs. sales 434–6; royalties 332–3
studios 287
studio schedules 293
subscription music service 112, 432
success in entertainment industry: affiliate labels 360; communication with label 367; competitive advantage of labels 363–4; controlled composition clause 383–4, 383; cost of doing business 357; Disney Music Group 359–60; economies of scale 350–1; getting noticed 348–9; gut judgment 382–3; independent labels 360–1; label team 367–8; legal issues 356–7; levels of 66–8; packaging fees 382; pitch memo 365–6; points on recording sales 384–5; professional experience 352; profit and loss (P&L) statements 355, 357–8; promotion branding labels 362–3; self-financed acts 366–7; showcases 365; Sony Music 352–4; specialty and virtual reality labels 362; talent, investment in 364; Universal Music Group 358–9; vanity labels 361, 362; Warner Music Group 350; websites 365; see also recording deals
suggested retail list price (SRLP) 381–2
superproducers 303
supplier questions 172
Swift, Taylor 334
talent: investment in 364; knowledge and 75–6; narration significance 209–11; new talent showcase 506–7; performance talent 149–51; value of 38–9, 44, 45
talent agencies 483
talent representation 154–5, 156–7, 158
talk show circuit 410
team member scales and budget 338, 339–41, 342–5
telegraph, invention xxi
telephone, invention xxi
term clause in contract 532–3, 571
territory clause in contract 573
Tesla, Nikola 265
tethered labels 432
Theory of Personality (Kelly) 192
third-year goal 460
360 deal 351–2, 375–6, 479–80, 492–3
the three wows: aggregators 69–70; being good enough 49; brand/image wow 51–4, 54; career time line, beginnings 56, 57; challenge with 65–6, 66; changing markets 74; event business 55–6; foundation of 71–2; independent artists, writers, performers 77, 81, 78–80; industry perspective 74–5; knowledge, value of 61, 62–3; legal contracts 73–4; levels of success 66–8; money concerns 60–1; music wow 50–1, 51; net zero market 63–4; odds of wow 205–6; overview 49–50, 50, 50–1, 51, 201, 201; professional advantage 75; professional opportunities 76; profit motive 73–4; show wow 54–5, 55; songs 50–1, 51, 201, 201, 349; talent and knowledge 75–6; traditional process 72–3; value of 77, 78–80, 213–14; virtual media success 65–6, 66; wannabes, value of 63, 64
Ticketmaster 505
Tie a Yellow Ribbon Round the Old Oak Tree (Brown) 199–200
time/money questions 170
Tin Pan Alley South 211
tours/touring: date approvals 497–8; managers 447, 468; marketing 329, 492; support crews 168, 329
traditional business model 489
trust in representation 459
tweeters, defined 291
Twitter 411
union professionals 395
United Talent Agency (UTA) 484–5
untethered labels 432
U.S. Census and Economic Index x
U.S. Constitution 92, 124, 128–9
U.S. Copyright Office 94, 103–4, 105–6
U.S. Copyright Office Practices 117–18
U.S. Department of Justice 20
U.S. Patent and Trademark Office 109, 185
U.S. Securities and Exchange Commission (SEC) 353
value: creation of 77, 78–80; of creativity 109–10, 110; of wannabes 63, 64; of wow 77, 78–80, 213–14
venues for events 498
Victor Talking Machines 314
videos clause in contract 558–9
vinyl recordings 320
virtual corporations 502
virtual media success 65–66, 67
virtual reality labels 362
virtuosos, defined 284
Volman, Mark 197
Wallicks, Glenn 314
wannabes: defined 7; music publishing test market 218; odds of getting noticed 348, 349; value of 63, 64
Warner, Jack 314
Warner Bros. 314
Warner Music Group 193–4, 215, 350
warrantees and representations clause in contract 553–7
Weber, Bruce 276
Wendorff, Louisa 334
what kind of business, questions about 145–53
why start a business, questions about 143–5
William Morris Endeavor Entertainment (WME) 485–7
Williams, Hayley 423
Witt, Steven 17
work-for-hire 374
working musicians 278
work-made-for-hire deal 225, 227
World Copyright Treaty (WCT) 115–16
World Intellectual Property Organization (WIPO) 115
wow songs 50–1, 51, 201, 201–2, 349
Writers Guild of America (WGA) 162–3, 211–12
writer warrantees clause in contract 525–6
writing industry questions 145–6
writing professionally 196
“You’re a Media Company. Now What?” (Bothun, Sviokia) xx
