Lesson
Watch the Program – Full Session
Entertainment Law
Learning preview · Local demonstration progress only · No CLE credit awarded
Simulated player and attendance. No real course progress, CLE credit, certificate or email is created.
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Before you begin: Entertainment Law
Course approval, credit value, and attorney eligibility are unverified. This preview uses simulated attendance and issues no real credit, certificate, or email.
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About this program
An artist’s next offer can shape years of ownership and income. Natalie González and Mikey Pabon join Eugene Toussaint and Mehdi Essmidi to discuss the different work of lawyers and managers, the resources behind a label relationship, and the agreements supporting a creative career. The conversation keeps four questions in view: who owns the work, who can use it, who collects the money, and what each party must do.
The coursebook follows those questions through composition and master rights, chain of title, royalty collection, recoupment, contract terms, licensing, professional responsibility, and disputes. Original clauses and financial examples distinguish negotiated assumptions from legal defaults. The material uses United States copyright law and New York attorney practice, with a California talent-agency comparison; fictional percentages are teaching assumptions rather than industry rates.
The completed Nia Sol file supplies competing offers, rights records, revenue scenarios, and an advice memorandum. It includes a counterexample to the initial financial preference and a changed royalty-base calculation, so the recommendation must survive more than one set of numbers. A separate Sora exercise tests the same method. The eleven-segment episode timeline follows the October 13 chapter guide. The ten written chapters organize the coursebook’s separate instruction.
What you will learn
- Separate composition rights, master rights, contractual royalties, and collection functions.
- Build a chain-of-title and clearance file before a recording is released or licensed.
- Model advances, recoupment, deductions, commissions, and competing deal structures.
- Translate an artist’s priorities into enforceable contract terms and approval rights.
- Identify conflicts when a lawyer also manages, invests in, or shares revenue with an artist.
- Develop a documented response to unpaid royalties, restrictive terms, and exit disputes.
Who this course is for
Attorneys advising musicians and creative businesses, and practitioners entering entertainment transactions.
Preparation
A basic familiarity with agreements is useful. The coursebook introduces the rights and royalty vocabulary used in the examples.
Course information
- Practice focus:
- Connect the rights file, available funding, contract language, and modeled cash before recommending a creative-business agreement.
- Format:
- Recorded discussion with companion written study
- Producer:
- Attorneys with Swag Learning Center
- Learning partnership:
- Latino Lawyers Association of Queens County
- Materials:
- 64-page coursebook · Participant review edition 4 · 2026-10-10 · Quality revision Q1 · 2026-10-12
- Proposed CLE request:
- Proposed: 0.5 CLE credit · Areas of Professional Practice
Approval not verified · No credit awarded
Before you watch
The recording introduces music-business issues through the guests’ experience. The companion book adds United States copyright analysis, New York professional-practice questions, and a California talent-agency comparison. The fictional deal terms illustrate reasoning; they are not industry-standard rates.
The recording and written materials are educational resources. Use current authority and the facts of a particular matter before applying the discussion in practice. The intended audience is not a determination of CLE eligibility.
Course materials and practice exercise
Materials and study guide
Participant review edition 4 · 2026-10-10 · Quality revision Q1 · 2026-10-12 · 64 pages. Available to read, save, or print.
Open Entertainment Law coursebook (PDF) ↗The 64-page review edition 4 contains ten chapters, the completed Nia Sol case file, contract and clearance examples, worked revenue comparisons, a separate Sora exercise with a reasoned answer, six reusable worksheets, a glossary, and linked authorities. Use the supplied records before the solved calculations and recommendation.
Coursebook chapters
These are written chapters. The Segments tab follows the episode timeline.
- The client, the team, and the assignment — pp. 8–10
- Two copyrights, several kinds of control — pp. 11–13
- The release file and chain of title — pp. 14–17
- Follow the royalties — pp. 18–20
- Advances, recoupment, and real cash — pp. 21–23
- Negotiate the whole agreement — pp. 24–30
- Licensing the music and the artist’s identity — pp. 31–34
- Independent judgment and overlapping roles — pp. 35–37
- Disputes, renegotiation, and exit — pp. 38–41
- The Nia Sol case file — pp. 42–52
Questions for closer study
- Who is the client, and which responsibilities belong to counsel rather than a manager?
- Which permissions are needed for the work and for the particular proposed use?
- What does the artist receive after recoupment, deductions, and commissions?
- Which provisions protect the artist’s priorities if the release is delayed or the relationship breaks down?
Connect the rights file, available funding, contract language, and modeled cash before recommending a creative-business agreement.
Compare Nia Sol’s two offers under the supplied revenue scenarios, identify unresolved permissions, and test the recommendation against changed funding and royalty-base facts. Then work Sora’s independent problem before checking its answer.
Study prompts support discussion; they do not establish CLE approval.