How to Become an Entertainment Lawyer in the United States

If you’re looking to work in the entertainment industry and want to become an entertainment lawyer, then this blog is for you. This blog will outline how to become an entertainment lawyer, what it’s like being one, and what opportunities are available. For those of you who don’t know, lawyers represent clients in courts of law and provide legal advice on a variety of topics such as business law, criminal law, constitutional law etc. In order to be a successful entertainment lawyer you have to have knowledge of all these areas. As well as having knowledge about the law itself it is also necessary that you understand the different aspects of the entertainment industry such as music copyright laws or film

What is Entertainment Law?

How to Become an Entertainment Lawyer To become an entertainment lawyer, you will need to have a bachelor’s degree in law, with at least one year of study abroad. It is also important to be fluent in English. You will need to pass the bar exam for your state, which may require up to two years of intensive studying. Entertainment lawyers are usually employed by law firms or corporations that specialize in entertainment law. They are tasked with handling intellectual property rights and contract negotiations, as well as providing legal advice on issues relating to marketing and advertising.

Education and Training Requirements

With the rise in popularity of television, film, and music, there is a growing demand for legal professionals to help manage the contracts that are necessary to produce these types of media. These lawyers are called entertainment lawyers or “entertainment law” attorneys. To be eligible for an entertainment lawyer job, one must have completed either a bachelor’s degree in law or a Juries Doctorate (JD). For those who want to specialize in this field, it is recommended that they complete their education with courses related to contract law and intellectual property. Some other requirements for becoming an entertainment lawyer include being licensed by the state bar association where you wish to work and passing the Multistate Professional Responsibility Exam.

Salaries

The average salary for an Entertainment Lawyer is $135,000.00 per year. To become an Entertainment Lawyer in the United States, you need to have at least a Bachelor’s degree in law and complete one of these two paths: – Complete a Juries Doctorate Degree (JD) from an accredited law school and pass the bar exam. – Complete a Masters of Law Degree (ELM) focused on entertainment law. It takes about three years to complete both degrees.

How to Become an Entertainment Lawyer in the United States

The following information should help you decide whether you would like to pursue a career as an entertainment lawyer. Entertainment Lawyer Chicago work on all aspects of the business, including contract negotiation, intellectual property protection, labor issues, copyright infringement claims, trademark disputes, and other legal matters that arise in this highly competitive industry. Becoming an entertainment lawyer takes time and dedication; it is not something that happens overnight. An undergraduate degree with a major in anything from accounting to English will be sufficient for entry-level positions at most mid-sized firms.

Defamation Lawyer New York City

A defamation lawyer in New York is an attorney who specializes in the law of defamation. Defamation is a false statement that injures someone’s reputation and it can be written or spoken. The most common types of defamation are slander and libel. If someone has defamed you, your first step should be to contact a qualified defamation lawyer who can advise you about what to do next and how best to protect your rights. A good defamation lawyer in New York will be able to help you identify the source of the alleged defamatory material, which may include emails, letters, social media posts or other online content.

Types of Defamation

Defamation is a false statement that may injure the reputation of an individual or business. Defamation can be verbal, written, or published. There are four types of defamation: slander, libel, injurious falsehoods and malicious prosecution. Slander is a spoken defamation and libel is a written one. Injurious falsehoods are false statements that cause injury to another person’s interest in their profession or trade, including things like inflicting damage to someone’s professional reputation by spreading rumors about them being fired from their job. Malicious prosecution occurs when someone has been wrongfully accused of wrongdoing without any probable reason or justification for doing so.

How do I know if I have a case for Defamation?

How do I know if I have a case for defamation? If you are being slandered, libeled, or otherwise defamed, there is a good chance you have grounds to file a civil suit. However, before filing suit, it is important to understand what defamation actually constitutes and how it can be proven in court. In the United States, defamation is defined as: a false statement that harms the reputation of another person. In order for defamation to be proved in court, four things must be true: (1) The statement must be published; (2) The statement must not be privileged; (3) It must be false, and (4) It must cause injury to the plaintiff

Are Technical Laws And Rights Important For Media And Entertainment Industry?

Are Technical Laws And Rights Important For Media And Entertainment Industry?

The arts and entertainment are no longer limited to the film industry. These days several online platforms and social media are encouraging budding artists to develop on their own. However feasible it may seem, there is always a threat of cyber frauds amidst the growing competition where the artists and the platform users seek laws to protect their work. Check ahead what are the essential laws which protect the artists on various platforms.

Why do the artists need laws?

The entertainment industry covers various streams of art, dance and music. As the emerging digital world has expanded the platforms for content developers, they should also protect their rights to establish ownership for their work. The growing cyber threats and imposter complaints often lead to disputes and data thefts, leaving out the artists hopeless and demotivated.

Technology has improved with several cyber laws and technical rights that can help the content creators retain their ownership and maintain their identity on the platform, to emerge as a brand entity. Here are some categories of rights generally applicable to every developer, which can protect their work and assist them in complaining against any misconduct.

Laws And Rights

Protection of ownership

Intellectual property rights apply to many domains to protect the work and content from being stolen away. The artists emerging on social platforms seldom face the issues of copied content production or their content being published as someone else’s.

However, the recent social media platforms like Instagram, YouTube or TikTok support the ownership and copyright marks that protect the ownership of the content. Though the others can repost the matter, they have to mention the original creators. YouTube also allows freezing the videos from free downloads to avoid data copy.

Identity Protection

The artists in the competition should also have identity theft protection to avoid defamation acts. The platforms are strongly programmed with cyber security management to avoid scams and attacks. The users now have personal data protection including, their user IDs, passwords, the work they post or even the comments they write up for other platforms. The applications are often designed to be opened and used by multiple devices and servers.

The intelligence notifies the users every time their credentials change or any anonymous gadget accesses their account. The data in media platforms is also stored in encrypted formats, making the copy and usage difficult. Nevertheless, in any such case, the users can file against the fraud for identity theft protection.

Laws And Rights

Maintenance of anonymity

The users often seek anonymity in several domains if they wish to remain active for commenting or posting work. The platform allows anonymous user names and icons to hide the user’s status commenting on the platform. It, in turn, also promotes ethical competition where the owner can only receive genuine comments without the judgement of hatred or agreement.

Such laws are essential to curb cyber thefts and identity leaks while promoting fair competition among content developers. The recent platforms are fast implementing these protection gears helping out the budding developers create their identity.

A New Beginning, Every Three Minutes

A New Beginning, Every Three Minutes

It is one of the great openings of one of the all-time great radio records. The woman’s laugh that kicks off Duran Duran’s “Hungry Like The Wolf,” followed by the nasty sting of the first note.

The intro riff itself would have been hot enough, but, in eight-tenths of a second, two great things have already happened in “Hungry Like The Wolf” before the intro even kicks in.

Most of today’s EDM pop owes some debt, realized or otherwise, to Duran Duran. Much of today’s EDM pop opens with some sort of manipulated vocal sample, a direct descendent of that half-laugh.

It ought to mean that “Hungry Like The Wolf” sounds great every time it comes on the radio. Instead, that first second often sounds mushy, or it disappears under an announcer entirely.

That’s because the laugh is recorded softer than the rest of the song (which, by today’s standards, is not mastered all that loud anyway). And ever since “Hungry Like The Wolf” again became a fixture in gold libraries, a little over a decade ago, many stations have seemingly just input the audio into the system without doing anything to control the levels.

The result is that a hot intro of a hot song often doesn’t sound as hot as the jingle or stager that precedes it. It’s a problem I’ve noticed in a lot of formats with today’s searing imaging—made to stand up to today’s “use every inch of audio space” technology, but inevitably landing before “When I Was Your Man” or the quietest song on a radio station. And on formats like Mainstream AC where songs from the ‘80s and today still play together, it’s also particularly noticeable.

Working extensively in Classic Hits and Adult Hits, “Hungry Like The Wolf” is hardly the only song that presents challenges. The opening of “You’re So Vain” by Carly Simon often disappears, too. Jocks tend to stomp the whispered “son-of-a-gun” in that intro, but often the opening is so mushy on the radio that you can’t even tell which version is being played.

It’s rare that “More Than A Feeling” is input into a radio station system (or as radio people still say “carted,” even if they haven’t dubbed a song on to a cart in twenty years) with enough attention to its fade-in to start strong. Same for the fade-up on Electric Light Orchestra’s “Turn To Stone.” Even some uptempo intros—Rolling Stones’ “Miss You,” the Fixx’s “One Thing Leads To Another”—seem to have just a millisecond of dead air before them, if a station isn’t attentive.

It’s not just Classic Hits. There are fewer intros now, but among those songs that have them, “Say Something” by A Great Big World often challenges programmers. So does “Hello” by Adele.

Then there are those songs that start plenty hot, if announcers don’t ruin them. “Sexual Healing” by Marvin Gaye is a cold intro. “(That’s The Way) I Like It” by KC & the Sunshine Band works best as a cold intro. So does “Let’s Dance” by David Bowie. But I often find them input by music scheduling clients with intro times, so somebody inevitably tries to talk up a song with no intro.

Stations don’t enforce “crush-and-roll” like they used to—the ‘70s-derived practice of allowing the first note to establish the song (and the station’s forward momentum) with the jock coming in immediately after. When an announcer interrupts a sweep to backsell, then frontsell, the impact of a first note is often lost. Or somebody leaps into “Girls Just Want To Have Fun” and dilutes the impact of the opening synth blast that sets the tone for that song.

Radio station board-work is not often done by hand these days, and as a result, radio stations have started to change the type of sweepers they use. The produced drop that is clean enough to run over an intro has disappeared, often replaced by one that triggers a song to start during the last second or two of the stager. A few songs (“Girls Just Want To Have Fun” being one of them) hit perfectly. Other intros get stomped or sound abruptly loud.

I know by now that there are two types of Ross On Radio readers. Some are asking, “Who cares?” (albeit not likely in those words). Everybody else is going to send me an e-mail, glad that somebody besides them finally noticed. They’re the same type of people who responded to my article about “why the top-of-the-hour ID,” and the choice of song that follows it, still makes a difference.

Because anybody can create a playlist for themselves, and iTunes will even segue the songs for them. But few people can produce a radio station for themselves. Details still matter. First impressions still count, and radio stations have a chance to make a new one every three minutes. And with no particular expertise in doing so, and few of the tools that radio stations have available, I was still able to fix “Hungry Like The Wolf” in Audacity in about that much time.

There are some songs that work now just because of how they sound on the radio. Madonna’s “Material Girl” would seem like the most disposable of records now. But when I hear it, “Material Girl” always earns its four minutes on the radio because of those opening trash drums, and because of the intro overall. If you listen to radio with a discerning ear, the moment of impact is a great moment. But the impact is not limited to those able to dissect it.

An Unlikely Song of the Summer Emerges

An Unlikely Song of the Summer Emerges

In the early days of the excitement about “Can’t Stop the Feeling” by Justin Timberlake, there were a few PDs who continued to stick up for their own Song of the Summer choices—Kent Jones’ “Don’t Mind” and Sia’s “Cheap Thrills,” especially. Mostly, PDs were willing to anoint Timberlake early, but a few left themselves one out. “It could peak too soon.”

Indeed, “Can’t Stop the Feeling” peaked in late June. It’s not that it wasn’t a real hit. Timberlake’s time in CHR power rotation was comparable to other big hit songs, it just didn’t waste any time on development—a rare case of a song that could spring full-blown into power. And it will probably remain among the top 10 most played for the rest of the summer.

But when “Can’t Stop The Feeling” got nudged out of the No. 1 slot relatively quickly, it allowed people to admit certain things. “Can’t Stop the Feeling” isn’t “SexyBack.” That song still feels more forward looking, even as it celebrates its tenth anniversary. “Can’t Stop The Feeling” feels informed by previous summer hits—“Get Lucky,” “Can’t Feel My Face,” “Want To Want Me,” etc. There was more calculation than ambition, and maybe that was what people wanted this year.

But by mid-summer, at least one major consumer press story was already hedging its bets, writing the “why there is no obvious summer song of 2016 yet” article. Two years ago, when the choices were “Fancy” and “Rude,” I gave the Summer Song award to the Ice Bucket Challenge. If I hadn’t already pulled that stunt, this year I could have given it to PokémonGo. But I don’t have to do that this year. There are options.

By the end of the summer, “Cheap Thrills,” the current No. 1 song, will definitely loom larger than “Can’t Stop The Feeling.” I admit to not even mentioning “Cheap Thrills” in the spring. I recognized the thematic appropriateness (and the reggae elements). It felt like a hit, but it felt like one more downtempo EDM hit along the lines of the Chainsmokers (a genre that Sia helped foster, to be fair).

By Labor Day, both Drake’s “One Dance” and Calvin Harris & Rihanna’s “This Is What You Came For” will have maintained a steady and significant radio footprint throughout the summer. This is certainly the summer of Drake’s solidification of pop superstar status. His moody R&B songs are no longer occasional diversions between Hip-Hop songs heard mostly on Rhythmic and Urban radio. With “Too Good,” he’s now one of the few artists where radio will go find the next single.

“Don’t Mind,” by any scenario, will be on my year end list of songs that made a difference at radio. Like “One Dance,” it’s a CHR hit that actually began at Urban radio. It’s also one of the songs I’ve enjoyed most on the radio this summer.

I’ve spent time out of the country this summer. Anywhere other than North America, “This Girl” by Kungs vs. Cookin’ on 3 Burners is the unavoidable record. Even though it is only kicking in here now, it likely will be remembered as a summer 2016 hit retroactively.

With so many candidates, there is a case this year for the Song of Summer 2016 being whatever you think it is.

And I think it is Twenty One Pilots’ “Ride.”

I didn’t really consider “Ride” as a Song of Summer candidate at the outset. It was already an unavoidable record at Alternative. So I was thinking of it more along the lines of Imagine Dragons’ “Radioactive,” another midtempo, not-so-carefree hit that top 40 radio just happened to get around to during the summer.

But “Ride” has been the song that I find most inescapable on the radio right now, no matter where in the world I happen to be tuning in at the time. It is the song that most often pops up first when I tune into any station in any format that might play it.

A few weeks ago, it looked like “Ride” might not even last the summer on the radio. On the morning after five Dallas police officers were killed, a Facebook thread sprung up on whether “Ride” needed to come off the air, because of the “who would you die for/who would you kill for” lyrics in the second verse. For many of the radio people commenting, the first blush consensus was that it needed to be pulled, or at least edited. A few compared “Ride” to the oft-problematic “Pumped Up Kicks.”

But listeners never demanded that “Ride” come off the radio. While you would have understood if they found the lyrics unnerving, “Ride” lacks the deliberate lyrical provocation of “Pumped up Kicks.” Instead, it’s one of the more pensive songs on the radio at the moment. It was a band with spiritual overtones pondering the imperfection of human beings, and the need for forgiveness and self-acceptance.

Twenty One Pilots had already managed one tenor-of-the-times moment this year, with the reference to student loans in “Stressed Out.” We know from Maroon 5’s previous failed summer song attempts that nobody wants their summer (or summer song) to hurt like a mother. But in many ways, this summer does. And although the timing here was coincidental, “Ride” became an anthem for our troubled times.

It is also the first real Song of Summer candidate in a decade to come from rock radio (the last one was Kid Rock’s “All Summer Long”). Like much of what’s on alternative radio now, Twenty One Pilots make pop records that just happen to have started at a “rock” format. Even before they finally found pop acceptance, they were an act that made songs that were appropriate for top 40 without sounding like everything else on the radio. And at a time when articles regularly bemoan the lack of social commentary on the radio, they’ve now managed two different CHR hits that are actually about something.