What are the uses for manganese?

Welding Rods Manganese Uses Injury Law

What are the uses for manganese?

Primarily, it is used as follows:

(1) Metallic manganese is used primarily in steel production to improve hardness, stiffness, and strength. It is also used in carbon steel, stainless steel, and high-temperature steel, along with cast iron and superalloys.

(2) Manganese compounds have a variety of uses. Manganese dioxide is used in the production of dry-cell batteries, matches, fireworks, and the production of other manganese compounds.

(3) Manganese chloride is used as a catalyst in the chlorination of organic compounds, in animal feed, and in dry-cell batteries, while manganese sulfate is used as a fertilizer, livestock nutritional supplement, in glazes and varnishes, and in ceramics.

(4) Potassium permanganate is used for water purification purposes in water and waste-treatment plants.

Occupational exposures to manganese are by no means limited to welding. The highest exposures are reported among miners.¹ Workers in metal fabrication who produce manganese alloy, manufacturers and users of certain fungicides, and dry alkaline battery manufacturers are also at risk.² The compound MnO2 is used in fireworks, matches and glass production.

1. Pal, PK, et al: Manganese neurotoxicity: a review of clinical features, imaging and pathology. Neurotoxicology; 1999:20:227-38 2. Mergler D, Baldwin M: Early manifestations of manganese neurotoxicity in humans: an update. Environ Res. 1997; 73:92-100

Read more for related video clips.

Continue reading “What are the uses for manganese?”

Mother Settles Horrific Birth Injury Case for $18.2M

Birth Injury Lawsuit Eighteen Million Injury Law

Mother Settles Horrific Birth Injury Case for $18.2M

A Wisconsin mother settled a birth injury case with the federal government for $18.2 million after receiving horrific care from the former Sinai-Samaritan Hospital in Milwaukee that caused her daughter to suffer severe and permanent brain injuries.
An all around lack of care
Jacqueline Lugo went to the former Sinai-Samaritan Hospital in Milwaukee to deliver her baby in 1998. Although she was at a high risk for complications due to gestational diabetes and had a history of delivering large babies, she was not referred to specialists at the hospital. Her care was administered by a family practice doctor and nurse midwifes.
On top of that, she was left unattended at the hospital for more than 12 hours – even though she was close to labor. Then, during the birth, the baby was stuck in the birth canal for more than twenty minutes and suffered severe brain damage due to a lack of oxygen. She sued the federal government as the care she had received was funded through the federally funded through a program for the poor. She settled her case for $18.2 million, but most of that money will go towards the future medical expenses of her daughter who is now ten years old.
What is a birth injury?
A birth injury occurs when a child is profoundly injured or dies at birth due to medical negligence. As any parent who has experienced a birth injury knows, the emotional aspects are simply overwhelming. Birth injury cases tend to be the most complex types of medical negligence cases around and often require a variety of experts to analyze medical records, create life plans and determine how the injury occurred.
Who can make a claim?
A birth injury claim can be made on behalf of the minor by the parents or guardian of the child. In certain states, such as California, parents or guardians could also bring a claim for negligent infliction of emotional distress if they observed the negligence occurring and appreciated it – although that can sometimes be difficult to prove in court. Statutes of limitation vary in these cases, so parents or guardians are urged to contact an attorney as soon as possible to make sure that they aren’t barred from bring a lawsuit.
If your child was profoundly injured or died as the result of medical negligence, contact an attorney whose practice focuses in this area of law for help. To contact an experienced attorney near you, please click here.

Read more for related video clips.

Continue reading “Mother Settles Horrific Birth Injury Case for $18.2M”

Birth Injury Attorney Interview – The A to Z of Birth Injury Lawsuits

Birth Injury Attorney Interview Injury Law

Birth Injury Attorney Interview – The A to Z of Birth Injury Lawsuits

This is a transcript from an interview on birth injury cases with Jeff Milman, an attorney who has been practicingmedical negligence law for 26 years and and member of the Advocate Law Group. Attorney Milman is a member of ABOTA, the American Board of Trial Advocates, an association where you have to have demonstrated proficiency in trying at least a minimum of 20 jury trials. He was president of the Orange County Trial Lawyers in 2004 and his practice is located in Newport Beach, California.
FreeAdvice:: Can you provide an overview of birth injury cases for us?
Jeff Milman: Birth injury cases are the most complex type of medical negligence cases around. Usually it involves a tragedy to a family; especially if the child is born profoundly injured, whether it is brain injury or dystocia (a shoulder problem), and the child survives. It also affects the parents. It requires multiple experts. It requires a good sum of money to retain experts and prosecute and it requires a very, very, very experienced lawyer to handle these types of cases.
FreeAdvice:: What are the different types of birth injury cases?
Jeff Milman: The two we see primarily for those children that survive are number one, brain injury – or anoxic brain injury, what they call hypoxic-ischemic encephalopathy. The claims in those cases are usually that the physician or the medical staff failed to properly monitor the birth process via the fetal monitoring strips and order a caesarean section in a timely fashion.
The second type of cases we see are where there is a vaginal delivery and the physician and the staff failed to properly help the baby down the canal such that the baby is born with dystocia which can affect palsy and a host of other things.
There are the death cases and we also see cases where there was improper genetic screening and of course, the baby is born with a genetic problem.
FreeAdvice:: Who can make a birth injury claim?
Jeff Milman: The birth injury claim would be made on behalf of the minor if the minor is alive. One of the parents or both of the parents would be the guardian ad litem, or for the purposes of litigation, the guardian. Also, in California, if the parents observed negligence occurring, and in fact appreciated at the time there was negligence going on, they could also make a claim for what they call negligent infliction of emotional distress. But there are some hurdles to those and they’re very difficult to prove in court.
FreeAdvice:: Are there limits on that?
Jeff Milman: Each state has different limits. In California, we have MICRA, the Medical Injury Compensation Reform Act, which has been around since 1975. It caps the amount of pain and suffering to $250,000 for the child. For negligent infliction claims for the parents, there would be separate caps to a maximum of $250,000 and unfortunately, if there is a death, it’s $250,000 for a family – total. Now, of course, if you go to other states, for example, Nevada; they have a $600,000 cap. Some other states have no caps.
FreeAdvice:: Would there be a cap if it was intentional infliction of emotional distress?
Jeff Milman: If you can prove that a physician or staff intended to hurt someone or there’s a battery that takes it outside of the negligence venue, then yes; you can avoid caps. However, that’s pretty difficult to do.
FreeAdvice:: What’s unique about a birth injury case versus just a typical medical malpractice case?
Jeff Milman: Birth injury cases are unique in that you have multiple, multiple experts. They are extremely complex and these cases are very expensive. For example, when we look at a case in which the baby suffered fetal bradycardia, where there was a deprivation of oxygen and a caesarean section wasn’t done fast enough, we’re looking at hiring a labor and delivery nurse. We look at hiring in obstetric gynecologist. We’re hiring an expert on neonatology. We then might have the baby examined by a pediatric neurologist, a physical medicine and a rehab specialist. We would get a lifecare planner involved to project out all the future medical needs along with these other physicians along with a forensic economist. So, it’s not unusual to have costs on these cases escalate to upwards of $100,000 or more if you’re going to go to trial.
FreeAdvice:: Who is generally responsible for paying for the upfront costs in these types of cases?
Jeff Milman: Sometimes we’ll ask the client to pay the initial expert review, maybe $1000 or less. But by and by, the law firm expends the costs for the majority of these on a contingency basis. If we recover a settlement or verdict, we would be reimbursed our costs.
FreeAdvice:: What are the differences between a birth injury case and a wrongful death case involving a newborn?
Jeff Milman: These are labels. A birth injury implies that something happened during the birthing process that can result in either a damaged child who has neurological or profound disabilities or a child that is born viable and then dies. So once there’s a death, the label is a wrongful death case. If the child survives, the label is called a birth injury negligence case.
FreeAdvice:: How do damages differ in these types of cases?
Jeff Milman: Unfortunately, damages are capped at $250,000 per family in a wrongful death case. When you have a child that’s born profoundly damaged, you’re dealing with different damages. You’re dealing with a $250,000 pain and suffering damage cap for that child and then you’re dealing with some fairly sizeable numbers for future medical care and also lost earnings if the child will be unemployable by virtue of its disabilities. Then there’s the issue of attendant nursing care. For example, if you have a mother or a father who are spending a great deal of their daily time providing direct nursing care that they otherwise would not have to do for a child without disabilities, they would be entitled to be reimbursed for that.
FreeAdvice:: What is the statute of limitations for filing a birth injury claim?
Jeff Milman: For the adult in California, it’s one year from the date you knew, or with suspicion should have known, of injury or damage. So for example, if the parent has a negligent infliction of emotional distress claim, they should be talking to a lawyer pronto. For the baby, they have upwards of eight years. The statutes are somewhat complex, so I would advise anyone who even suspects there is a birth injury to immediately acquire the records and see a competent attorney rather than risk the statute of limitations barring their claim.
FreeAdvice:: What type of medical records do you need to obtain when filing a lawsuit?
Jeff Milman: Eventually, the lawyers are going to get all the records, but the clients should initially request the prenatal chart – the chart that the doctor keeps in their office for the mother. It would be under the mother’s name. Then separately, assuming the baby is born in a hospital; there will be two charts to obtain. One will be a chart under the mother’s name and the other will be a chart under the baby’s name which would include the pediatric records and the neonatology records. The last thing to make sure clients get their hands on is the fetal monitoring strips. Later on, the lawyers can get other things such as the MRI films, but the important thing to know is that hospital records have two separate charts; one for mom, one for baby.
FreeAdvice:: Do you ever see cases where the parents are bringing a suit against a midwife?
Jeff Milman: I have had a few of those cases. By and by, midwives are not the flavor of the month, as it were. So they’re not as prevalent as they once were. But yes, if a midwife is negligent, they, as a medical provider, have the same exposure as any other medical provider such as a nurse, a nurse practitioner or a doctor.
FreeAdvice:: Who should obtain these medical records?
Jeff Milman: It would be prudent for both the parent and the lawyer to obtain them, actually. If you suspect that there’s medical negligence, parents should immediately try and get a copy of the records. Then later on, as the litigation progresses, we (the lawyers) obtain the records via subpoena and authorization. Every once in a while you get lucky and it turns out the records that the parents obtained are not the same ones supplied in the litigation and they’ve been altered. It doesn’t happen often, but nothing settles a case faster than altered records.
FreeAdvice:: Is it difficult for non-lawyers to obtain these documents from hospitals, especially when the hospitals suspect that a lawsuit may be filed?
Jeff Milman: It depends on the hospital. Some hospitals are very giving and others will put roadblocks up in their way. The important thing to remember is that absent copying charges, these records are that of the patients and they have the right to them. So don’t take no for an answer.
FreeAdvice:: What would you advise people to do if they can’t get anywhere with the hospital on obtaining the medical records?
Jeff Milman: Go see your lawyer.
FreeAdvice:: What type of evidence is typically involved in a birth injury case?
Jeff Milman: Depending on the case, we will have fetal monitoring strips. We may use blow ups of certain injuries that are created by medical illustrators. There will be a number of reports which the experts prepare, especially the economics. Then, we routinely put together two videos; one is called “A Day in the Life” which is intended to be shown in court and it will supplement the testimony of the parents as to what they have to do on a daily basis.
We’ll also do a shortened version, maybe a 10 or 15 minute version of what we call a “settlement” or “mediation” brochure and we’ll use that as evidence to get across how much effort there is and how profoundly it affects the family.
FreeAdvice:: What type of experts do you use and when do you consult with them?
Jeff Milman: I consult with them right off the bat. The first experts I’m going to consult with are labor and delivery nurses to assist me in evaluating the fetal monitoring strips, if that’s the issue. I will also get an obstetrics gynecology expert who is a specialist in the type of case we’re looking at.
Once I have a thumb’s up from them on the issues of liability, that there was in fact negligence, I want to rule out other causes that could cause birth injuries besides the negligence. So, I will get a neonatologist to review the chart and make sure that there’s not something genetic or something that occurred after the birth, for example, in the neonatology ward.
Once I have those experts solidly in place, then we’re going to get the damages experts involved and get the baby evaluated and seen by a life care planner, a pediatric neurologist, a physical medicine and rehab expert, have economic reports put together and the day in the life information done.
FreeAdvice:: It sounds as though the process of whether to file a lawsuit is very complex. Do you often see other attorneys whose practices don’t focus in this area taking on these cases and not doing everything that they should?
Jeff Milman: Unfortunately, yes. This is not an area of law one should dabble in. This is not an area for someone who’s a general practitioner. This is a high specialty area and I’ve seen a myriad of times where the attorney handling the case gets in way too deep, runs out of money, has hired the wrong experts or doesn’t have experts at all. So definitely, if you are a consumer and you’re contemplating bringing one of these cases, make sure you find an attorney that is up to the challenge of handling this and ask them point blank, what percentage of their practice is medical negligence? Have they handled birth injury cases? What has been their track record?
FreeAdvice:: What are the differences in prosecuting doctors versus nurses versus an HMO?
Jeff Milman: There really aren’t any differences. The HMO issues deal with the fact that you may be bound by an arbitration agreement such as Kaiser Permanente or if it’s a Veteran’s Administration case, you may be bound in federal court. However, whether you pursue a doctor, a nurse or an HMO, the issues are pretty much the same. Did a professional breach the acceptable standard of care? In other words, was somebody negligent? Did they mess up and was that a cause of injury?
So, we have to prove three things; liability, causation and damages – and we do that through the experts.
FreeAdvice:: Does dealing with the Kaiser Permanente arbitration process tend to limit damages in your opinion or is it basically the same as going to court, just in a different venue?
Jeff Milman: Well, the law is the same. I’m not a fan of arbitration, although I will say that I have won certain cases in arbitration that a jury may not have given money on. By and by, you tend to have a retired judge as an arbitrator and they tend to be a little more conservative than a jury. However, the damages are the same.
FreeAdvice:: How much money does it take to prosecute a birth injury case?
Jeff Milman: I would say, realistically, to get the case into settlement mode, at least $40,000 or $50,000. If you’re going to go to trial and spend two or three weeks in trial, it could go upwards as high as $150,000 in costs. Those costs are generated by the sheer volume of discovery, depositions and experts that are used.
FreeAdvice:: How long does it take to prosecute one of these cases?
Jeff Milman: It depends on what court and state you’re in. When I first started practice in California, it would take upwards of five years to get a case to trial.
Now, for example, in California’s Orange County, they’re generally done within 18 months. In Riverside County in California, they have a moratorium. They can’t get civil cases out to trial so you’re kind of victim to whatever the court system is.
FreeAdvice:: How long does it generally take to get to arbitration in the Kaiser Permanente process?
Jeff Milman: Kaiser now has fixed rules. Before they were somewhat guilty of taking too long and our Supreme Court in California was very critical of them. They’ve now put together what they call the OIA, or Office of Independent Administrator, and the goal is to get these cases to trial within 12 to 18 months and they are succeeding in that regard.
FreeAdvice:: How many cases go to trial versus settling?
Jeff Milman: In medical negligence, we tend to try more cases than you would in, for example, car accident cases or business cases. I would say probably about 90% of our cases settle and the key to that is good case selection. We have to have good experts and we’ve got to have a good case going in or else it’s going to be a disaster.
FreeAdvice:: Is there anything that someone bringing a birth injury lawsuit should or shouldn’t do?
Jeff Milman: They should immediately get the records. They shouldn’t write things or say things that could be used against them later on. For example, writing nasty letters to the hospital administrators. They need to be cool, calm and collected. They need to collect whatever evidence they can and then they need to apply for whatever healthcare and government insurance that might be available above and beyond their regular healthcare.
FreeAdvice:: What is a lifecare plan?
Jeff Milman: It is a plan usually created by a nurse that is certified as a lifecare planner. He or she interacts with the treating physicians of the child, the pediatrician, as well as experts that we retain for purposes of the case such as the pediatric neurologist, a pediatric physical medicine expert and a rehabilitation expert. The goal is to set forth all of the future medical care needs down to Band-Aids and medicines that this child may need over the course of his or her lifetime.
FreeAdvice:: Is a life care plan based upon what it would cost in today’s dollar or is there an inflation factor that is figured in?
Jeff Milman: The lifecare plan is for the baby’s lifetime. We get an economist who will basically evaluate that lifecare plan and put the figures in today’s dollars.
So for example, you may have a lifecare plan that deals with $12 million of needs of this child through age 75. However, the present value, meaning the amount that it would cost to write a check to let the money grow and cover all that may be say, $3 million. Of course, the other side will have competing experts that will say that our numbers are inflated, so we get to fight about that.
FreeAdvice:: Does the family or the child have an opportunity to come back if there’s a later complication that will require more money than what the life care plan called for?
Jeff Milman: Basically, once you settle, you settle. Under rare circumstances, if the child dies later on from the injuries, the family might be able to bring a wrongful death case if the death is related to the negligence. However, most defendants don’t want to include that and they want to write one check and be done with it. So I always joke with my clients and say, if you sign the settlement agreement and you get your money, if your neck and back turn green and fall off tomorrow, it’s your problem, not theirs.
There are different ways to settle cases. There are special needs trusts and there’s payment streams called annuities. Some annuities are guaranteed, meaning that if the child were to die, the heirs get the funds. Others are only for the life of the child.
If you go to trial and have a verdict, the court can set limits, monitor and cut off payments that are ordered by the jury for future medical needs if there’s a change. So for example, if the jury has allocated $3 million for future medical needs and the child dies two years later, the defendants can go to court on certain occasions and cut that stream off. However, that’s with a verdict; settlements are different and you can control how the money is allocated.
FreeAdvice:: What is vicarious liability and how does it affect birth injury cases?
Jeff Milman: Vicarious liability is a legal term that says that someone is responsible for the acts of another. For example, if I’m an employer and my employee’s running an errand for me and gets in a car accident, I’m vicariously responsible for the employee even though I did nothing wrong.
In birth injury cases, you’ll mostly find that the doctors at private hospitals are independent contractors but the nurses are employees of the hospital. So, the hospital would be vicariously liable for the acts of the nurse.
If it’s Kaiser, for example, then both the doctors and nurses are employees of Kaiser and Kaiser would be responsible for their employees’ acts. If it’s federal, then the United States government is responsible for the conduct of the doctors and nurses at a Veteran’s Hospital.
FreeAdvice:: What is a special needs trust?
Jeff Milman: What happens in a lot of cases, unless you’re particularly well-funded through private insurance, parents will apply for government benefits such as Medi-Cal and sometimes Medicare. There can be regional centers that take care and provide education for the children.
One of the goals when you settle a case is to bring in an attorney who specializes in special needs trusts and as part of any settlement, to the best of our ability, shield the money that the child and parents get so that their ability to obtain government benefits is not cut off. That is a special needs trust.
These settlements are overseen by a judge; we call it a minor’s compromise. The judge has to make sure that the money is handled properly, that nobody’s absconding with it and that the amount of the settlement is fair. So, there’s a second set of eyes watching what’s going on.
FreeAdvice:: What type of attorney should somebody hire in a birth injury case?
Jeff Milman: They should hire a lawyer who specializes in medical negligence and has the skill, knowledge and financial resources to do birth injury cases. Clients should ask some serious questions such as how many of these have you handled and what’s your track record?
FreeAdvice:: How are attorneys compensated in birth injury cases?
Jeff Milman: Depending on the state, attorneys are usually compensated on a contingency fee basis. For example, in California, MICRA limits recovery to 25% for minors after expenses have been reimbursed.
FreeAdvice:: Does that percentage change if you appeal a case?
Jeff Milman: It depends on the state. For example, some attorneys will write a contract that provides for a contingency fee of 25%, but will increase that to 33% if you go to trial. However, in medical negligence cases, the fees are strictly controlled by MICRA; so generally, it’s not going to change.
FreeAdvice:: Is there anything else you’d like to add about birth injury cases?
Jeff Milman: Parents don’t sign off to have a profoundly damaged child. It is a horrendous thing and even though you love your child, you are faced with one of the most serious types of injuries there are. It’s very emotional for the parents, for the child, for the brothers and sisters, for grandparents that may be around, and for family and friends. So if you feel there’s medical negligence, get the records and talk to a competent attorney who can assist you.
If your child was profoundly injured or died as the result of medical negligence, contact an attorney whose practice focuses in this area of law for help. To contact an experienced attorney near you, please click here.

Read more for related video clips.

Continue reading “Birth Injury Attorney Interview – The A to Z of Birth Injury Lawsuits”

Debt Collection Arbitration: Are Debtors Really Getting Fair Treatment?

debt-collection-arbitration collections

Debt Collection Arbitration: Are Debtors Really Getting Fair Treatment?

Many credit card companies require debtors to participate in arbitration – thereby avoiding class action lawsuits. However, are debtors really getting fair treatment during that process? The answer is no according to one consumer advocate.
Bud Hibbs
Bud Hibbs, a debt collection consumer advocate and consultant for over 25 years who has written several books, is approved to teach CLE courses through the State Bar of Texas and has appeared in numerous radio and television programs including the Oprah Winfrey Show, says that arbitration is an area that most people don’t understand. He explained:
Years ago, you and I could have met in a coffee shop and you could have said to me, ‘Bud, you’re in the financial business. Well, you know, I think one of the banks is really screwing me on this interest rate and my friends that I work with, the people I worship with, and my neighbor, we all get together, we hire a lawyer and sue this bank under class action statutes.’
Similarities to current Wall Street situation
Hibbs says that to get around [having class actions filed], the banks instituted arbitration whereby you and I and the credit card holder can only sit down one on one. He told us that what’s going on in arbitration is very similar to what’s going on on Wall Street right now. He continued:
You have a few people that control all the puppet strings that handle arbitration; you have a couple of law firms that have pretty much sandwiched it in where they have complete control over the credit card industry. It’s very well known in the industry that the people who actually do the arbitration, these are usually retired lawyers and judges or lawyers that are looking to make more money than they can practicing law, which is about a minimum of about $300 per case, and they can handle two or three cases a day.
Rubber stamping approvals and lying on forms
Unfortunately, Hibbs says, there are people are out there that are just rubber-stamping approvals and lying on forms. He explained, “The national approval rate for the National Arbitration Forum out of Minneapolis is 97 percent and they tack on a 20 percent back in for attorney’s fees, so it’s pretty lucrative money and most people don’t understand it and don’t know how to fight it. A lot of attorneys don’t understand it or how to fight it either. Right now, it is literally running wild in our country where lawyers are lying on forms. They all say, ‘Under penalty of perjury, I declare this information to be true’, when they don’t have any idea if it’s true or not; but every day they churn out hundreds and hundreds of these deals, which are automatically converted to awards that end up putting money in their pocket.”
Taking action
To prove his point, Hibbs referenced a case in which the State of California filed a class action lawsuit against them several months ago. It’s called, The People of the State of California v. The National Arbitration Forum and says that he hopes to God that these judges are smart enough to see what’s going on and compare it to what’s happening on Wall Street right now.
If you are being harassed by a debt collector, contact an attorney whose practice focuses on issues relating to the Fair Debt Collection Practices Act (FDCPA) to discuss your situation. Consultations are free, without obligation and are strictly confidential. Click here, to contact an experienced debtor’s rights lawyer. We may be able to help.

Continue reading “Debt Collection Arbitration: Are Debtors Really Getting Fair Treatment?”

What are some of the main deal points in a music publisher’s agreement?

Points Music Publishing Agreement Music Law Intellectual Property

What are some of the main deal points in a music publisher’s agreement?

Most of the various types of music publishing contracts contain similar basic paragraphs in common cornering the advance, royalty payments, copyright ownership, and warranties and representations. These are the key issues that should be addressed and clarified.

(1) Term: The “term” is the length of the agreement. The duration can be based on calendar (“contract years”) years or on albums (“LP’s”). For example, the contract year term in a staff writer deal is usually one year with a certain number of options. Another frequently encountered contract year term would be the longer of 12 months or until a specified number of songs have been delivered. An LP-based term is based on the albums written by the composer, not on years. While recording agreements with major labels usually range from 5-8 years, co-publishing agreements are shorter, only about 3 to 4 years in duration.

(2) Territory: While it may be possible for some established writers to limit the publisher’s rights to certain territories by way of an “admin deal,” a “worldwide” territory is common for single-song contracts and “co-pub” deals. This allows the publisher to maximize its earnings on your songs by either adding it to the songs already in their subpublishing agreement, or by assigning the songs to various subpublishers around the world.

(3) Scope & Compositions: A co-pub deal can be for a single composition, an album, or an entire catalogue. The deal can include past, present and future songs. The “scope” clause specifies which songs are part of the publishing deal by expressly defining “composition” in a certain manner. It explicitly identifies in the body of the agreement which compositions will be included and excluded. If you are the writer, it is more beneficial to try to exclude previously released songs and limit the scope to songs written during the term of the publishing agreement. If existing songs are required, try to get a higher advance. This compositions clause may also determine if the writer has the right to collaborate in writing the songs and, if so, how the collaborative works are to be co-owned/co-administered.

(4) Advances: An “advance” is a sum of money paid by the publisher to the song writer for conveying to the publisher copyrights to a song or a collection of agreed songs. The royalty advance is frequently the most important issue to the writer. The only reason a writer would ever want to convey his/her copyrights in songs would be in return for money and to share in the future royalties from the songs. Therefore, if a publisher ever asks you for money for your own songs, it is not a genuine or legitimate publisher. A publisher should always offer you money to own or administrate any part of your songs, unless it is small indie publisher with no money. The amount of the advance is based on the degree to which the publisher believes that it can earn royalty income off your songs through successful exploitation. If the publisher believes your songs are going to be big hits, it may offer a lot of money. If not, the advance will be commensurately less. Market forces also often drive up the level of advances.

The advance is usually “nonrefundable and recoupable.” Advances are “nonreturnable” because if the writer does not earn any royalties, the writer need not pay the advance back. “Recoupable” means if the writer’s songs generates sufficient royalties to pay back the advance, the publisher gets to “recoup” its advance. Once the writer is “recouped”, all additional income collected is split between the writer and the publisher in accordance with the agreed share. The only song writer royalty a publisher cannot recoup is income form public performances.

Advances may be contingent or automatic. For example, an advance may be based immediately upon signing the publishing agreement (“on execution”). Alteratively, an advance may be paid when a single song or album reaches certain sales or chart positions.

An advance is payable usually as a flat sum, e.g. $25,000. Or, it can be paid out as a per centage (%) of earnings on previous albums, with minimums and maximums (“min-max’s”).

(5) Delivery: In return for the royalty advance , the song writer must “deliver” a certain amount of musical compositions during the term. Where substantial advances are involved and the number of compositions is specified in the term, a music publisher may often insist that the compositions be released on a record in the US by a “major” record label.

(6) Ownership: The ownership of the copyright is perhaps one of the most important terms in a publishing deal. Under a single song agreement or ESWA deal, the publisher typically acquires 100% copyright ownership, worldwide, for life. Under a typical co-pub deal, the writer becomes a “co-publisher” with the music publisher on a 50/50 split, but the publisher has exclusive administration of the songs throughout the world. No ownership rights are granted in either admin, collection, or subpublishing agreements.

(7) Royalty Splits: The division of royalty income is just as important as ownership of the copyrights. In a single song deal, the royalties are usually split 50/50 between the writer and publisher, except for print income for which the writer usually receives 5¢ to 10¢ per copy sold. Similarly, under a typical “copublishing deal, there is usually a 50/50 split, which becomes a “75/25 deal.” Under this deal, the co-publisher-writer gets 100% of the writers share of income, and 50% of the publisher’s share, or 75% of all income. If an admin or collection deal is possible, the royalty splits are usually 85% to the writer, 15% to the administrator. Sometimes, it is possible to negotiate a more favorable split in a co-pub or an admin deal once the writer has been recouped, or reaches certain pre-determined levels of income and success.

The calculations of your royalty splits will also be dependant on whether your royalties are calculated on an “at source” or “receipts” basis. As a song writer, always try to get an “at source” deal to maximize your income.

Print royalties are usually paid on the basis of “net paid sales”, which means on gross shipments, less returns, for which the publisher received payment.

And, remember, no payment of royalties is paid to either the publisher or the writer for promotion copies of your songs.

(8) Administration: In exchange for giving you an advance against future royalties, the music publisher will be conveyed the writer’s “administrative rights.” This clause grants the music publisher the right to control and exploit your composition. Publishers do this by granting mechanical licenses, synchronization licenses, and print rights. Additional provisions allow the publisher to collect the money from the rights that are granted to third parties. There is usually an “administration” fee charged by the administrator/publisher. Frequently, the admin fee is 10% to 25%. This fee is usually deducted off the top of either the gross receipts from the compositions or from the gross publisher’s share of income.

(9) Costs: The deductions from gross royalty receipts will often be the subject of negotiations. Obviously, as the writer you will want the music publishers to absorb as many fees as possible, For example, ask your publisher to waive fees charged to the publisher by Harry Fox Agency or CMRRA. If they do not agree to this, try to avoid the middle-man charge by having the music publisher agree to license directly to affiliated record companies, or perhaps to only the “majors.” Other expenses that are negotiated are the copyright registration fees and the costs of lead sheets and demos, etc.

(10) Restrictions:There are a number of creative rights that a writer may choose not to convey to the publisher, and for which the writer may want to retain prior approval. Sometimes a writer can place limitations on the right to use his or her name and likeness (right of publicity). For example, a writer may insist that his songs not be used commercially in conjunction with tobacco or alcohol companies, feminine hygiene products, etc. If this restriction is allowed, the publisher will usually insist the writer must regularly supply the publisher with approved photographs and bios, and will want to use any materials approved or deemed approved for use by the writer’s record company. Or, a writer may not want any translations, adaptations or arrangements of the songs without prior approval. Often a writer who is also a recording artist may want a clause not allowing the publisher to issue “first-use” mechanical licenses with out the writer’s approval. This restriction is usually limited for periods of 6- 9 months, and applies only where the writer contemplates recording the song. Other restrictions could include limiting the publisher from commercially exploiting any demo recording, or from issuing mechanical licenses “below rate.” Another provision would be to preclude any synchronization licenses without approval, or no use of the title of a song on any film/TV/stage production without writer consent. A writer can sometimes also limit the publisher’s right to settle copyright infringement or other lawsuits against the writer without the writer’s consent. If you have sufficient clout, you may even restrict your “grand rights” and “merch rights”, so that a publisher cannot (without your permission) use your songs in a theatrical dramatization, or cannot license you songs on any merchandise.

(11) Reversion: Under US Copyright laws, the length of time a music publisher is allowed to retain ownership of and/or administrative rights to the post-1978 copyrights acquired during the duration of the publishing agreement is thirty-five years. At the end of the 35-year term, the copyrights “revert” back to the writer. Thus, the term, “reversion.” The provision that specifies the writer’s right to regain the copyrights is called a “reversion clause.” Sometimes a writer can negotiate a reversion clause that allows the copyright to revert sooner than under normal circumstances.

A reversion clause may be negotiated where the publisher fails to pay the royalties properly or on a timely basis. In the past few years, a growing trend has emerged with some music publishers in co-pub deals to agree to return copyrights to some leveraged writers after 25, 15 , or even 5 years. Alternatively, reversion may occur the later of “term plus x amount of years.” If you cannot get a reversion clause based on years, try to get one based on your performance.

(12) Costs of Litigation:As in many recording agreements, there are often “Warranties,” “Representations” and “Indemnification” clauses in publishing agreements. Under these provisions, the writer promises that all the songs on your albums are original and agrees to reimburse the publisher in case they are found not to be originals. Similar “warranties” and “indemnification” clauses exist in the recording agreements between the artist and the record company. At a minimum, try to avoid or limit the indemnification clause, under which a writer agrees that if the music publisher is sued for copyright infringement, the writer agrees to reimburse them for all their court costs, legal expenses and attorneys fees. Instead, try to get provisions that obligates the publisher to bring all necessary litigation in order to collect your monies and/or to prevent or cure infringements. Ask the publisher to advance and absorb all costs of litigation against third parties.

(13) Audit:Typically, publishers send royalty payments semi-annually (twice a year) at six-month intervals, usually within 45 days after the end of each six-month period. This means if the music publisher pays based on a calendar year, the writer should be paid in about mid-August and mid-February. To protect the writer, there should be an audit clause which allows the writer (or his/her financial representatives, such as a CPA, accountant, and/or lawyer) to examine and inspect the music publisher’s royalty statements and books at certain times to make sure royalty payments are accurate. Insist on one. There are usually restrictions imposed in audits clauses as to the times and frequency of audits. Try to get a longer “contractual statute of limitations” on audits and law suits, instead of the short ones usually proposed. Ask for a right to inspect the statements, books, and records 2-4 times per year. Ask for the right to audit licensees directly. In case an underpayment of royalties is found after an audit, try to include a provision that ensures your audit costs will be reimbursed, in whole or in part.

Whenever possible, a qualified music lawyer should be consulted before any music agreement is signed. With the right counsel and bargaining power, you should be able to land better deals.

(Reprinted with permission from Ruben Salazar, Esq. )

Read more to view related video clips.

Continue reading “What are some of the main deal points in a music publisher’s agreement?”

What are the main deal points in an agency agreement?

Agency Agreement Music Law Intellectual Property

What are the main deal points in an agency agreement?

Each union has its own pre-printed “form” agency agreement, providing all of that unions particular requirements. These form contracts are lengthy and complicated. They are basically a stack of union forms combined into one “agency agreement”. A union agency agreement is actually comprised of eight contracts incorporated into one; one from AF of M (for musicians); one from AFTRA (for vocalists and taped or live televisions actors and actresses); three SAG agreements (one each for TV, film, and commercials); one for Equity; and two catch-all agreements called “General Service” and “Packaging”.

Some tips on negotiating terms in an agency agreement include:

(1) General Terms: Before singing any agency agreement, be clear with the agent on what genre of music you play, what sorts of other music you can play in a pinch, and what styles of music you are unable or unwilling to play. You should clarify if you are willing to work in venues only at night due to bandmember commitments, and whether you are willing to travel and how far. You may also need to reach an agreement of the prices the band will charge.

(2) Exclusivity: Most agencies will want to be your only (exclusive) booking agent, at least in a specified territory.

(3) Term: The “term” means the length of the contract. Agents like to ask for three (3) or more years. If you are artist with sufficient bargaining power, try to get them to limit it to one (1) year. If you cannot get this, try to get a clause allowing you to terminate after each year if the Agent fails to generate certain minimum levels of earnings.

(4) Territory: Talent Agents usually require “worldwide” rights. As a new artist, you may not able to avoid this. Once you become a mid-level artist, you may ask to exclude territories outside the US.

(5) Fees: Never give your booking agent a percentage of your income from records, song writing, or publishing. The “form” agency agreements from AF of M and AFTRA have a place on the form where you can initial if the agency commissions your earnings from your records. Do not consent to this. Instead, give them 5% to 10% of the personal appearances, depending on the employment procured. Sometimes, agents will reduce their percentage from 10% to 5% for artists that also generate major revenues from concerts. For TV, films, and radio, agents usually do not accept less than 10%. Sometimes, a sliding scale fee can be negotiated, which means as your income goes up, their fee goes down.

(6) Scope: Despite the fact that agency agreements are usually on pre-printed forms, there are a number of exclusions from your earnings that an artist should try to negotiate. Try to exclude earnings from: record producing, records (mechanical royalties), song writing (performance, synchronization and print income), sound tracks (even if they got you work as an actor or actress), commercials (unless your under contract for them), book publishing, and costs of collection. Try to avoid the agency from being able to get you employment in these areas without your written consent.

(7) Key Person: In order to ensure that the Talent Agent you hired stays your agent, even if he or she leaves the agency company, it is advisable to insert a “key man” clause in your agency contract. This clause provides that the “key person” with whom you have a agency relationship must be living and be actively and personally involved as your agent and, if not, you can terminate your agency agreement.

(8) Termination: In your union agency “form” agreement, make sure it contains a provision allowing the artist to terminate the contract if a specified amount of work has not been obtained in a certain time period. Make sure you also insert a clause that says that if any of the eight union forms contracts are terminated, you have the right to terminate the rest. If this is not done, the Agency may be representing you in certain areas, but not in others. If you cannot negotiate this escape clause, then try to at least get the Agent to agree that if either the AF of M or AFTRA agreements can be terminated for failure to secure employment, then you have the right to terminate all other contracts (called a “co-terminus” clause). In case the artist/agency agreement terminates during a tour, the agency will try to get paid commissions for all tour dates procured, so try to insert a clause that indicates that no commissions are paid for non-appearances beyond your control.

(Reprinted with permission of Ruben Salazar, Esq.)

Read more to view related video clips.

Continue reading “What are the main deal points in an agency agreement?”

Raptiva Linked to Fatal Brain Infection

Raptiva Linked To Brain Infection Drug Toxic Chemicals

Free Case Evaluation From An Experienced Drug Liability Attorney.

Raptiva Linked to Fatal Brain Infection

The California-based drug firm Genentech has announced a voluntary, phased withdrawal from the market of its psoriasis drug Raptiva, which has been linked to a rare but usually fatal brain infection.
Genentech’s action
As of last October, three cases of the disorder, progressive multfocal leukoencephalophathy (PML) had been reported to the Food and Drug Administration in patients taking Raptiva, two of them fatal. A fourth patient with possible PML also died. All of the patients, ages 47-73 years had been taking the drug for at least three years.
“Our decision to remove Raptiva from the market reflects Genentech’s commitment to patient safety,” Hal Barron, MD, the firm’s Senior Vice President for Development and Chief Medical Officer, said in a statement. “Although we believe that many psoriasis patients are benefiting from Raptiva, the balance between benefit and risk in the psoriasis population for which Raptiva was approved has significantly changed.”
The company estimates that 2,000 patients in the US currently taken the drug and that 46,000 patients worldwide have taken the drug.
In a letter to Raptiva patients, Dr. Barron advised them not to stop taking Raptiva without first talking to a physician because sudden withdrawal could have serious side effects, such as worsening of the psoriasis leading to hospitalization.
“There is no way to know ahead of time who will get PML,” he wrote. “There is no treatment or cure for PML. People who do live with PML are severely disabled.”
To give physicians time to withdraw patients from the drug and change treatment, pharmacies will be able to refill prescriptions until June 8, 2009, however, no new prescriptions will be filled.
Background
The FDA approved Raptiva for treatment of moderate to severe plaque psoriasis in 2003. No cases of PML were seen in the 2,764 patients treated with Raptiva in the clinical trails that led to the approval of the drug. Of those patients, 2400 had been treated for two months, 904 for six months, and 218 for one year or longer.
Last fall the Food and Drug Administration ordered Genentech to change the Raptiva label to highlight in a boxed warning the risks of life-threatening infections, including PML. A Public Health Advisory alerting to the risk of PML, which is a rare, progressive neurological disease caused by a virus that affects the central nervous system, followed the action in February.
Regulators in Europe, Canada, and Malaysia have recommended that the drug be withdrawn from the market.
Potential for lawsuits
Geentech’s withdrawal of Raptiva is expected to lead to a flood of lawsuits. A recent Supreme Court ruling, Wyeth V. Levine, holding that a patient injured by a drug can sue the maker even though the Food and Drug Administration oversees warnings on drug labels about possible side effects opens the door for plaintiff suits.
If you or any member of your family uses Raptiva, consult your physician first, and then call an attorney immediately.

Read more for related video clips.

Continue reading “Raptiva Linked to Fatal Brain Infection”

What are “prepackaged bankruptcy plans” for business filings?

prepackaged plans business bankruptcy

What are “prepackaged bankruptcy plans” for business filings?

Sometimes companies prepare a reorganization plan that is negotiated and voted on by creditors and stockholders before the company actually files for bankruptcy. This shortens and simplifies the process, saving the company money, and frequently generating more for the creditors as there is less spent in legal and related fees, there is less disruption to the company’s business and less damage to its goodwill. For example, Resorts International and TWA used this method. Prepacked bankruptcy plans generally qualify as a plan of reorganization under a Chapter 11 case.

If the prepackaged plan involves an offer to sell a security, it may have to be registered with the SEC. Under the Bankruptcy Code, two-thirds of the stockholders who vote must accept the plan before it can be implemented, and dissenters have to go along with the majority.

(Reviewed 11.10.08)

Continue reading “What are “prepackaged bankruptcy plans” for business filings?”