The MMA: The Future of Music and What You Should Know
A publisher and a lawyer walk into a bar … to discuss copyright reform. The Music Modernization Act, the Classic Act and the AMP are the most significant reforms in decades and were driven by various issues and interest groups.
Did what emerged address the issues? How are artists affected? What do composers need to know?
Join music publisher Al Evers and music attorney Daniel Schacht for a thorough discussion of what led up to the legislation, what changed due to its passage, and what concerns remain.
MCLE Credit is Available.
Al Evers is the founder and owner of A Train Entertainment, started in 1985 as an option for independent artists to receive professional assistance in developing and managing their musical careers. Over the years A Train has expanded its services to include publishing administration, artist management, worldwide physical and digital distribution, neighboring rights administration and more. A Train administers over 230,000 song titles, all while keeping ownership in the hands of the artists who created them. Our catalog of digitally distributed titles grew exponentially in the last year and we anticipate similar growth in 2018 with an average of 40+ new albums released every month.
Daniel Schacht heads Donahue Fitzgerald’s Music and Entertainment practice and co-chairs its Intellectual Property Practice Group. He has had the good fortune of serving as counsel to world-renowned musicians and music tech companies, including the number one app. In addition to his music licensing and business practice, his copyright litigation experience includes serving as lead counsel in Wixen v. Spotify and co-counsel in the successful “Happy Birthday” lawsuit, described by The New York Times as “a lawsuit for the ages,” that put the world’s most popular song in the public domain. He regularly teaches Music Law at his alma mater, U.C. Berkeley School of Law; he provides California Lawyers for the Arts with pro bono services and seminars on the law and business of music; and, prior to becoming a lawyer, he worked for a decade in the Bay Area music scene, performing and recording with dozens of bands that you’ve never heard of.
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