=E2=80=9CLAW, MUSIC, AND YOU: A DISCUSSION OF= CURRENT LEGAL ISSUES AND LEGISLATION IN THE MUSIC INDUSTRY AND HOW IT MAY = AFFECT YOU=E2=80=9D

The CCC Legal Committee has= assembled a panel of esteemed legal minds from the music industry. The web= inar will address legal developments and legislation concerning music right= s, including (1) the recent Copyright Office ruling regarding the int= ersection of termination rights, the derivative works exception, and the st= atutory mechanical blanket license in connection with mechanical streaming = royalties; (2) the status of the =E2=80=9CNO FAKES Act=E2=80=9D legislation= and state law protections (e.g., the=E2=80=9D ELVIS Act)=E2=80=9D and how = they impact sound recordings; (3) Artificial Intelligence developments in m= usic publishing, including discussion of high profile litigation cases, fai= r use, input (i.e. prompts), etc.; and (4) the MMA =E2=80=93 five years lat= er, where are we now?

Moderator:

Michael R. Morris, Esq= . | Partner, Valensi Rose, PLC

Panelists= :

Jacqueline C. Charlesworth, Esq.<= /strong> |&n= bsp;Partner, Frankfurt Kurnit Klein & Selz

Timothy A. Cohan, Esq. |&nb= sp;Chief Counsel, peermusic

Charley Londo=C3=B1o | Counsel Plus, Co.; and Of Counsel at The Peter Law Group

Rick Marshall | Genera= l Counsel, The Mechanical Licensing Collective

Tuesday, Sept= ember 10, 2024

2:30pm =E2=80=93 3:30pm PDT | Zoom Webinar Broadcast

Advance Reservation:

CCC Members $= 0 per person | Non-members $5 per person

Registration de= adline is Tuesday, September 10, 2024, at 1:30pm PDT

=E2=80=93 No re= funds =E2=80=93

Questions? = Email is at questions= @theccc.org

Biographies<= /p>
Michael R. Morris, Esq. | P= artner, Valensi Rose, PLC

Michael R. Mo= rris has blended his tax law expertise with his passion for music and enter= tainment, resulting in a practice that is unique.

As a former t= rial lawyer for the IRS and a Certified Specialist in Taxation Law, Michael= provides insightful resolutions to his clients=E2=80=99 complicated tax, e= state and business transaction issues. In the entertainment industry, Micha= el has developed a strong reputation of providing valuable and effective bu= siness solutions in areas such as copyright and contractual matters.=

Although Mich= ael=E2=80=99s core competency is within the tax arena and entertainment, he= has developed significant expertise covering a wide range of businesses.&n= bsp; His diverse client base includes major studio executives, recording ar= tists (including Grammy winners), production companies, film and TV compose= rs, talent agencies, payroll companies, skin healthcare companies, postprod= uction houses, software companies, and an award-winning winery.

Jacqueline C. Charlesworth,= Esq.&nb= sp;| Partner, Frankfurt Kurnit Klein & Selz

Jacqueline= C. Charlesworth, a partner at Frankfurt Kurnit Klein & Selz, is a liti= gator and transactional attorney whose practice is focused on entertainment= and copyright law. Her firm=E2=80=99s clients include music companie= s and film studios, as well as individual songwriters, recording artists an= d other creators.

Previously= , Jacqueline served as General Counsel and Associate Register of Copyrights= of the U.S. Copyright Office, where she had primary responsibility for int= erpretation of the U.S. Copyright Act and oversaw a wide range of litigatio= n and policy matters, including the Office=E2=80=99s participation in Supre= me Court cases.

In additio= n to handling litigation and transactional matters, drawing on her governme= nt experience, Jacqueline advises clients on copyright-related legislative = and regulatory issues. In 2018, Jacqueline was named a Billboard Woman Exec= utive of the Year for her role in helping to craft and secure passage of th= e Music Modernization Act, landmark legislation to update U.S. music licens= ing rules.

Jacqueline= has lectured extensively on music and copyright law, including at Yale, Ha= rvard, Columbia and other law schools, and serves as a trustee of the Los A= ngeles Copyright Society.

Jacqueline= received a B.A. with honors in American Civilization from Brown University= , magna cum laud= e, Phi Beta Kappa, and a J.D. from Yale Law School. At Yale, she= oversaw the The= Yale Law Journal as an Executive Committee Editor and was a foun= ding member of the Yale Journal of Law & Feminism. Following law school= , she clerked for Judge Miriam Goldman Cedarbaum of the Southern District o= f New York and Judge Betty B. Fletcher of the Ninth Circuit.

Timothy A. Cohan, Esq. | Chief= Counsel, peermusic

Tim Cohan = is Chief Counsel for the peermusic group of companies, including its recent= ly formed neighbouring rights division, serving over 2,500 recording artist= s and 300 record labels, as well as a long-established music publishing div= ision encompassing a catalogue of hundreds of thousands of works across all= genres. At peermusic, Tim and his staff provide centralized legal and busi= ness affairs support to the firm=E2=80=99s 38 offices in 31 countries. = ; Cohan also plays a key role in the firm=E2=80=99s strategic and policy in= itiatives, including legislative advocacy, corporate transactions, and peer= music=E2=80=99s global digital music licensing strategy. Tim is an ac= tive representative of peermusic in the industry, including two terms as a = board member of the Association of Independent Music Publishers, and as a f= ounding and current board member of the Mechanical Licensing Collective for= med under the Music Modernization Act. Tim received his J.D. from Col= umbia Law School and is admitted to the Bar in New York and California.

Charley Londo=C3=B1o | Coun= sel Plus, Co.; and Of Counsel at The Peter Law Group

Charley Lo= ndo=C3=B1o brings a rare combination of specialized entertainment legal ser= vices and executive level music industry expertise. Primarily practicing in= the areas of music, film, television, and new media, Mr. Londo=C3=B1o coun= sels both companies and individuals regarding transactional issues. His pra= ctice concentrates in the protection, clearance, licensing, and distributio= n of intellectual property rights.

Prior to b= eginning his law career, Mr. Londo=C3=B1o was a record company executive. T= hroughout his career, he worked in the radio promotion departments of Arist= a Records, A&M Records, IRS Records, and MCA Records.

Mr. Londo= =C3=B1o received a B.S. in Business Administration=E2=80=93Finance from the= University of Florida and a J.D. from California Western School of Law.

Londo=C3= =B1o is a member of the State Bar of California, the Florida Bar Associatio= n, the Beverly Hills Bar Association, the Los Angeles County Bar Associatio= n, the California Copyright Conference, and the Association of Independent = Music Publishers. He is a past president of the California Copyright Confer= ence and instituted its annual Apollo Awards ceremonies.

Rick Marshall | General Counse= l, The Mechanical Licensing Collective

Rick Marsh= all is General Counsel at The MLC. Before joining The MLC, he was a senior = member of Warner Music Group=E2=80=99s recorded music catalog legal affairs= team and represented WMG on the recording industry=E2=80=99s union contrac= t negotiating committee and in regulatory policy related initiatives. Rick = also served for several years as an Attorney-Advisor in the Office of the G= eneral Counsel at the United States Copyright Office, where he worked on mu= sic-related initiatives that paved the way for the passing of the Music Mod= ernization Act in 2018. Before entering the Intellectual Property and Enter= tainment Law space, Rick served as Senior Staff Attorney to the Chief Judge= at Florida=E2=80=99s First District Court of Appeal in Tallahassee, Florid= a. He holds a Legal Masters degree in Intellectual Property Law from The Ge= orge Washington University Law School.

Attention Attorneys: This virtual activity has been approved for Minimum Continuing Legal= Education Credit by the State Bar of California in the amount of one (1) h= our. The CCC certifies that this activity confirms to the standards for app= roved education activities prescribed by the rules and regulations of the S= tate Bar of California governing minimum continuing legal education. = Following this virtual presentation, we will verify your attendance via Zoo= m reporting and email your certificate of attendance to the email provided = at registration.

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Please note, u= nique Zoom webinar credentials, including Zoom calendar, will be emailed to= you directly from Zoom separately after registration.

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=E2=80=9CLAW, MUSIC, AND YOU: A DISCUSSION OF= CURRENT LEGAL ISSUES AND LEGISLATION IN THE MUSIC INDUSTRY AND HOW IT MAY = AFFECT YOU=E2=80=9D

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