Music Licensing for Startups
The uncertainty and costs of licensing / rights clearance at the intersection of music and tech significantly curtail innovation in the space. Creating a startup license regime where entrepreneurs have access to a pre-negotiated, low cost license to a large catalogue of music content would allow exploration of potentially lucrative new revenue streams for digital music consumption. What terms and pre-qualifications would rightsholders and tech innovators need for it to be valuable to both interests? How do we demystify the process of licensing these catalogues?
Admitted to the New York Bar in 2001, Elliot A. Resnik has a general entertainment practice, concentrating on music industry transactions including but not limited to artist, writer and producer representation for recording and publishing agreements, licensing, trademark, joint ventures, digital distribution and content, record label and publishing business affairs and represents some of today’s most notable Grammy winning and platinum selling artists, producers and companies in a diversity of musical genres. Mr. Resnik is also experienced in transactions for film, television, the video game industry, publishing, new technology and the internet. He is a frequent lecturer and panelist on music industry issues and has spoken at CMJ, The Copyright Society of the United States, The New York Bar Association, City Bar Association, New Music Seminar and a number of law schools. Prior to joining the firm in 2009, Mr. Resnik was a member of the legal and business affairs team at independent giant TVT Records and subsequently was principal at The Law Offices of Elliot A. Resnik from 2003-2009.
Mr. Resnik received his Bachelor of Arts in Philosophy in 1997 from McGill University. He received his Juris Doctorate from New York Law School in 2000, where he served as President of the Media, Entertainment and Sports Law Association.
Entertainment Lawyer, Event Producer, Artist Manager
William (“Bill”) Hart is a well-known New York City copyright lawyer who pioneered the law of Internet content protection with deep, long-standing experience in complex copyright matters across a range of industries: music publishing, literary works, fine art, architecture and technology, among others. Bill has acted both as litigator and transactional lawyer throughout his career on copyright matters in the United States and in numerous other countries throughout the world. Many of his cases are considered landmarks in the law: Demetriades (copyright in architectural plans), Netcom (ISP liability and the precursor to the DMCA), Napster (the first big file sharing case), Remeirdes (the DVD encryption 'hack' case) and the Premier League v. YouTube case that is currently pending after remand from the 2d Circuit. On the transactional side, Bill has been involved as lead copyright counsel in the acquisition, sale or licensing of some of the most significant rights catalogs in the world, including those involving the rights of Bob Marley, Elvis Presley, Jimmy Webb, Otis Blackwell, Sergei Rachmaninoff the celebrated "noir" photographer, Arthur Fellig (aka "Weegee") and Balanchine, among many, many others.
Bill retired as an equity partner from a major multinational law firm in 2012, but continues to consult his former firm on copyright matters. Bill also consults on business and technology matters in the entertainment and content delivery fields and has appeared as an expert witness in select copyright cases outside of the United States. Bill is a sought-after public speaker who has been featured at various national symposia over the years and is an adjunct professor at UT Law School in Austin, Texas. Bill currently splits his time between New York and Austin.