On television, not very long ago, Ally McBeal, where Calista Flockhart captured the 90s zeitgest by navigating her 20s in a zany Boston law firm with a unisex bathroom, all while wearing high-hemmed business suits and dating Robert Downey, Jr. Before her, there was Arnie Becker and Michael Kuzak and Doug Brackman of L.A. Law’s elite firm of McKenzie, Brackman, Chaney, and Kuzak, who slept with clients after having them sign legal documents, discussed apparently mythical sexual positions called the “Venus Flytrap,” and gallivanted around a sunny Los Angeles with Reagan-era excess. Before them, there was Perry Mason, where Raymond Burr played a immaculately-coifed criminal defense attorney with the remarkable fortuity to not only represent exclusively innocent clients, but to be able to use logic, evidence, and a steely courtroom demeanor to break down the actual perpetrator on the stand.
There really is no such thing as “music law” in the legal sense. Instead, if you want to practice music law, what you’re really saying is that you want to work with clients who are in the music industry. Basically, you’ll want to handle any issue your music industry client might come up against as, say, a musician, production company, talent agency, or licensor/licensee. This may include such varied areas of law as copyright, contracts, antitrust, immigration, bankruptcy, labor, tax, privacy, First Amendment, and so on.