The CMA is working with NARM to host an Entertainment Law Conference in Nashville on Tuesday, Nov. 9 (1:00-5:30 PM/CT) at the Hutton Hotel. The half-day continuing legal education course is part of a series put on by NARM and will be part of scheduled events leading up to “The 44th Annual CMA Awards,” which will be held the following night (10/10) at the Bridgestone Arena.

A highlight of the conference will be an interview with the Honorable Marybeth Peters. In one of the final public events of her 16-year tenure as United States Register of Copyrights, she will discuss some of the remarkable events of her career in the Copyright Office, the twists and turns in U.S. and global copyright law and policy, and her ideas about the future of copyright law.

The program will also feature an impressive line-up of top-level speakers from the music and media business and legal professions. Panels will address the likely impact of the 2010 elections on music, media, and copyright legislation; copyright termination; and recent judicial interpretations of the Digital Millennium Copyright Act; and more.

A cocktail reception to honor Peters will follow the program and allow registrants to meet the speakers.

For preliminary agenda details and confirmed speakers click here. To submit a speaker for consideration, contact Jon Potter, Program Director, at jpotter@rpgdc.com.

Registration for the event through Oct. 1 is $149 for NARM and CMA members, $199 for non-members, and $69 for students. On Oct. 2, registration rates increase by $50 for members and non-members and $30 for students. You may register here.

Application for accreditation of this course or program in Tennessee is pending. Once approved, the course will yield four credits.

Scott Siman’s RPM Management has joined forces with Rusty Harmon’s MTM Management. RPM is home to country star Big Kenny and rising country artist Madison Cain, while MTM represents Texas rock act Reckless Kelly, former Trick Pony singer Aubrey Collins, and others. The first collaboration under the new partnership is an as-yet-unnamed country band fronted by Collins with Benji Harris and Nathan Stoops.

“We love what Rusty has done with this band and it made sense to expand our involvement,” explains Siman, who is acting as the group’s publisher along with their producer Blake Chancey. “Rusty is the perfect fit for RPM as we continue to mold and adapt in the new entertainment dynamic.”

Harmon adds, “I’m excited to be working with Scott and RPM. I love Nashville and country music and this is the ideal association to grow our Nashville roster.”

Siman’s RPM Management is affiliated with Irving Azoff’s Front Line Management. RPM has represented such acts as Tim McGraw and Julianne Hough. MTM’s track record includes time managing Hootie & The Blowfish, Jason Michael Carroll and many more.

Harmon and staff have relocated to the RPM offices and together with RPM they will actively seek new projects to co-manage.

They can be reached at 815 18th Ave. S., Nashville, TN 37203; (615) 866-4045; and rustyharmon@mtmfirm.com. www.mtmfirm.com

BMI released its latest financial results today, showing that the performing rights organization generated more than $917 million in revenues for its 2010 fiscal year ended June 30, including its subsidiary Landmark Digital Services®, LLC.

The company had distributable royalties of more than $789 million for the more than 475,000 songwriters, composers and copyright owners it represents.

BMI reports a $30 million increase in revenues from new media, cable and satellite audio and video programming services. According to a press release, this income more than offset a decline in radio and television license fees, and adverse movement in foreign exchange rates during the January-June period.

Over the last decade, BMI’s revenues have increased by 70% and royalty distributions by 75%, while the overhead rate has been reduced by almost 15%.

The organization under the leadership of President & CEO Del Bryant, grew its market share this year thanks to huge hits by artists including Lady Gaga, The Black Eyed Peas, Colbie Caillat, Ke$ha, Taylor Swift, Kid Rock, Rihanna, Toby Keith, Keith Urban, and Zac Brown Band. These top contemporary artists are on the roster alongside musical icons like Willie Nelson, Paul Simon, Sting, Elton John, and the late Michael Jackson.

Performances by Taylor Swift and Kanye West at last night’s MTV Video Music Awards are spurring more internet discussion today than Lady Gaga’s armful of moonmen trophies. Both artists debuted songs written in reaction to last year’s incident at the same awards show where West interrupted Swift’s acceptance speech. See videos of Swift’s and West’s performances.

The New York Daily News calls the debacle the “gift that keeps on giving for Swift. Last year, it transformed her from a very successful pop star into a household name.” The paper goes on to say:

Call it “Taylor vs. Kayne: Round 2.” On last night’s Video Music Awards, the most over-discussed couple from last year each had their say in their own way – with new songs that doubled as statements on the great debate. Naturally, the performances also served as well-placed promos for each of their upcoming CDs, which will contain the cuts.

The Wall Street Journal points out specifics in Swift’s song that lead the listener to conclude is about West.

It’s difficult to say what it’s really about–and sometimes even artists themselves evade such questions or don’t even really know. But it’s pretty clear from the lyrics that [Swift’s] new tune, apparently titled “Innocent,” has something to do with the Kanye confrontation. There are references to his age at the time, the month the VMAs took place, and other tell-tale signs… West’s song “Runaway” was more confessional and confrontational. He seemed to be attacking the whole culture of celebrity—something he willingly participated in—that led to his acting out and barging in on Swift’s moment.

The LA Times music blog says the artists “gave MTV more than the network deserved this year by agreeing to resolve their differences musically, turning themselves into willing pawns in a cynical grab for publicity.”

Swift, made up to look like Grace Kelly in “To Catch a Thief,” strummed a National guitar and never once cracked a smile as she sang “Innocent,” a ballad based on her encounter with West. It was a somber attempt to forgive her offender, but it fell horribly flat. With lines like, “It’s okay, life is a tough crowd/32 and still growing up now,” the song came across as more condescending than empathetic. And with her small, wavery voice, Swift couldn’t muster the drama that would have made it transcendent. This consummate professional has rarely seemed so uncomfortably young.

West did something harder to accept, but more interesting to contemplate: He confronted his mistake in a song that begged for forgiveness on the surface, but on another level, made the case for flawed character as a motivator for great art…The spareness of West’s song quickly gave way to a sunny tune reminiscent of early 1970s soul, and an extremely off-color chorus in which West both made cruel fun of himself and implied that fools such as he do play an important role in keeping art interesting. Unlike the grim and visibly nervous Swift, West smiled as he lacerated himself with epithets.