#GoBucks

New year, old me. Gotta keep up last year’s momentum.

Sending our thoughts and prayers to Damar🙏

0. Rights Management

If AI is a tool for songwriters/producers, will it be treated similarly to a producer using a plugin that creates randomness or has preprogrammed sounds?

Achievement is often due to the anonymous

Copyright termination law is extremely nuanced and confusing for musicians. At the very least creators should understand (as stated below) that you can get copyrights in recordings or songs back after a certain time period. If you miss the window to get them back, then you won’t

Last first day of law school let’s get it

No shortcuts, only reps

There is so much room for innovation in the IP rights management space. It’s a matter of who is going to build the right solution first.

I get so distracted when I start thinking about actually practicing entertainment law. Making this last semester and bar prep tough 😅

🗣️ IT’S TIME TO SAY WHO DEY!

My note about tokenized rights management is published. Read it here: bpb-us-w2.wpmucdn.com/blogs.belmont.…

& too inefficient?

My lawyerly MusicRow debut 🙏

Feeling lucky to do what I do. Being a music attorney gives me the opportunity every day to work with inspiring and creative people…and I also still get to nerd out in the nitty gritty haha 🤓

Music royalties are complicated…it’s important to understand where your recording and/or pub royalties are coming from. Version 3.0 of the below is coming soon…hit me with questions or changes you want to see.

Self-published artists register with MLC for US mechanical royalties (streaming/downloads) and ASCAP/BMI for public performance royalties (radio/bars/live shows/streaming). Indie artists also like to leave SoundExchange (recording monies from SiriusXM/Pandora) on the table too.

Ohio-based up and coming artists tap in — I want to help — send that music over

Don’t turn your tv off Kendrick Lamar is about to perform