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Music Industry Profile: Attorney Wallace Collins Attorney Wallace Collins on Transitioning from the Music Business to Entertainment Law Recommended Reading for Entertainment Law The Difference between Representing Producers and Artists A Typical Day in the Life of an Entertainment Lawyer New York vs. California Courts: Why They Handle Copyright Cases Differently Why it’s Difficult in the USA to Get out of a Contract You’ve Signed When Should an Artist Seek Legal Advice? Why Should Musicians Copyright Their Songs? What do Copyright Symbols Mean? Sound Recordings and Works Made for Hire What is a “Work for Hire?” The Controlled Composition Clause and Why It Reduces Your Bottom Line Why Are Licensing Rates Determined by Law? Compulsory Licenses and Sync Licenses Defined Should Radio Stations in the USA Start Paying Performance Rights Fees? Is New York The Right Place to Start Your Career in Music? The Death of the Album and the Future of the Music Industry
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What Are Performing Rights Organizations?
SoundExchange
SoundtrackNet
The Firm
SESAC
The American Society of Composers, Authors, and Publishers (ASCAP)
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    • How to Get Your Band's Career Started the Right Way About ASCAP The Difference between ASCAP and BMI The Fee for ASCAP's Services When Does one need an ASCAP License? ASCAP Resources What Students Need to Know BMI and other Performance Rights Organizations The Business Side of Songwriting How Sound Exchange Works
Publishing Deals and Performance Rights Organizations

Wallace Collins
Wallace Collins is an independently practicing music attorney based in New York City.
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Wallace Collins, an entertainment attorney based in New York, explains how music publishing deals typically work, the role that performance rights societies (such as BMI, ASCAP and SESAC) play in managing publishing arrangements – and the murky question of just how much money they get for their assistance.



Shoot Date: October 2007
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Keywords:
Music Publishing | Performing Rights Organizations

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