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Make Music, Make
Money
Written by Richard
P. Dieguez, Esq.
 >
Learn how money is
made in publishing.
> Sample clauses and contractual
language.
> Over 100 illustrated
pages and sidebars.
>
Written by RPD from
years of experience.
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Quick Facts
About RPD
> Advises clients of
all genres: Pop, Hip Hop,
Dance, Rock, R&B, Jazz, Gospel, World, etc.
> Recipient of several
Gold and Platinum
Records from clients
> Has 5 years experience
managing artists
on major labels, an important insight
he
brings when advising legal clients
> Listed in nine Who's
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> Graduated in 1985
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one of the top schools in the country
> Taught 3 semesters
of Entertainment Law
at New York City's Baruch College
> Admitted to the U.S.
Supreme Court |
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Personal Injury,
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Books
Referring To RPD
The
Real Deal: How to Get
Signed
to a Record Label
by Daylle Deanna Schwartz
Managing
Artists in Pop Music:
What
Every Artist and Manager
Must
Know to Succeed
by Mitch Weiss and Perri Gaffney |
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©
2008 Richard P. Dieguez, Esq. All rights reserved
Legal
Notice and Disclaimer
Portions of this website may be considered
ATTORNEY ADVERTISING in some states. |
|
|
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This Business of
Music
By M. William Krasilovsky and
Sidney Shemel |
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This is considered by many in
the business to be the "bible" of the music industry.
The book has been in print since 1964 and has been revised periodically
ever since to keep it up to date. |
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It is basically a guide that concisely
sums up all the major points you need to understand about music
publishing, record contracts, production agreements, booking
agents, songwriting, copyright and trademark law and much more.
Not only does the book get into these heavy subjects from
the American legal point of view, but it also covers all the
international aspects. |
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Over the years, I have heard differing
opinions from clients about the effectiveness of the book. The
book is certainly thorough, concise and practical. Even
entertainment lawyers and other business executives use it as
a reference tool. Despite the fact that it is jam- packed
with all the information a novice would need to know, some beginners
find the terse language a bit intimidating and overwhelming.
The information is probably most useful to those who already
have some basic background to start with. |
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However, I think even the newcomer
will find that the appendix is well worth buying the book. The
appendix has information it seems everyone is looking for: examples
of what all these contracts look like! All agreements differ
in some way and are negotiable, but at least in this book, you
will have some sort of an idea of what licenses, record contracts,
copyright forms and other agreements involving unions, agents,
films, etc., are all about. It also gives you excerpts
from the actual American and international copyright laws. |
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~Richard P. Dieguez |
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