Law.com Subscribers SAVE 30%

Call 855-808-4530 or email [email protected] to receive your discount on a new subscription.

Cameo Clips

By ALM Staff | Law Journal Newsletters |
November 29, 2006

Theatrical Productions/Minimum Musicians Required

The U.S. District Court for the Southern District of New York denied a union petition to vacate the portion of an arbitrator's award that allowed the producers of the Elvis musical, 'All Shook Up,' to use a reduced-size orchestra for their Broadway production. Associated Musicians of Greater New York, Local 802, AFM, v. The League of American Theaters and Producers Inc., 05-CV-2769 (KMK). The collective bargaining agreement (CBA) at issue allowed for a reduction in the required minimum number of musicians for 'Special Situations.' The producers of 'All Shook Up' sought to use a 15-piece, rather than 19-piece required minimum, orchestra 'to create a sound for the show that emulates a typical early-Elvis-type 'band.” The union, and then a designated Special Situations Committee, denied the producers' request. An arbitrator later granted the production Special Situation status on the ground that 'the proposed instrumentation, which includes both the number and type of instruments, was driven by the 'musical concept.”

Citing Elvis-recorded song titles, the district court noted: 'Rather than resolve amicably the Parties' dispute, the arbitration produced a 'A Mess of Blues.'' The union wanted the dispute remanded back to the Special Situations Committee, prompting the district court to comment: 'In effect, the Union suggests, 'Return to Sender.' Because the Court finds that the Arbitrator arguably drew her conclusions, and ultimately, the Award from the essence of the CBA, this case presents '(Such An) Easy Question.' ' For purposes of deciding the merits of this Petition, the Court need only find, and does in fact find, that the Union's argument amounts to nothing more than Petitioner saying that the Arbitrator misinterpreted the CBA, which is not legally sufficient for the Court to vacate the Award.'


Talent-Broadcast Contracts/Pro-Rata Compensation

The U.S. District Court for the Southern District of New York decided that the term 'pro rata' payment in a talent-broadcasting agreement for an on-air analyst for NFL football games should be based on the number of weeks in the year that the agreement was in effect, rather than the number of games that the defendant announced. CBS Broadcasting Inc. v. Jones, 05 Civ. 10620 (DC). Former Pro Bowl NFL player Brent Jones was hired as an on-air analyst by CBS in 1998. Jones was entitled to $200,000 for 1995. The parties' agreement stated that Jones was to be paid 'in accordance with CBS's payroll practices.' CBS paid Jones a weekly salary of 1/52 of $200,000. But in Sept. 2005, Jones resigned three games into the NFL season over unhappiness with negotiations for his future services to CBS. The talent agreement stated: 'If Contractor [ie, Jones's corporation] or Artist at any time materially breaches any provision of this Agreement ' CBS may ' reduce Contractor's compensation pro rata, and/or CBS may, by so notifying Contractor during or within a reasonable time after such period, terminate this Agreement.' The agreement didn't define 'pro rata.' CBS filed suit arguing that it should be reimbursed the amount it had paid Jones in 2005 above 3/17ths ' based on the football season itself ' of $200,000. Jones acknowledged he had breached the contract but argued CBS's only remedy was terminating further payments to the football analyst.

This premium content is locked for Entertainment Law & Finance subscribers only

  • Stay current on the latest information, rulings, regulations, and trends
  • Includes practical, must-have information on copyrights, royalties, AI, and more
  • Tap into expert guidance from top entertainment lawyers and experts

For enterprise-wide or corporate acess, please contact Customer Service at [email protected] or 877-256-2473

Read These Next
Major Differences In UK, U.S. Copyright Laws Image

This article highlights how copyright law in the United Kingdom differs from U.S. copyright law, and points out differences that may be crucial to entertainment and media businesses familiar with U.S law that are interested in operating in the United Kingdom or under UK law. The article also briefly addresses contrasts in UK and U.S. trademark law.

Strategy vs. Tactics: Two Sides of a Difficult Coin Image

With each successive large-scale cyber attack, it is slowly becoming clear that ransomware attacks are targeting the critical infrastructure of the most powerful country on the planet. Understanding the strategy, and tactics of our opponents, as well as the strategy and the tactics we implement as a response are vital to victory.

The Article 8 Opt In Image

The Article 8 opt-in election adds an additional layer of complexity to the already labyrinthine rules governing perfection of security interests under the UCC. A lender that is unaware of the nuances created by the opt in (may find its security interest vulnerable to being primed by another party that has taken steps to perfect in a superior manner under the circumstances.

Removing Restrictive Covenants In New York Image

In Rockwell v. Despart, the New York Supreme Court, Third Department, recently revisited a recurring question: When may a landowner seek judicial removal of a covenant restricting use of her land?

Fresh Filings Image

Notable recent court filings in entertainment law.