What's it like to be a power lawyer in the music business? Lots of travel and little sleep, says Atlanta-based attorney Bobby Rosenbloum, who has negotiated deals on behalf of Google, Apple, Amazon, Microsoft and other tech companies through the years. "Unless you really love it and have a passion for it, there are other professions that would be easier," he says with a wry chuckle.

6:45 AM After less than six hours of sleep, I respond to overnight emails from Asia. With clients all wanting to scale globally, my work hours have stretched late into the night and early in the morning.

8:00 AM Arrive at my office for calls with Sony and Universal. We walk through the implications of new digital business models for our clients, who are getting squeezed between labels and publishers.

10:30 AM Another call with one of the top venture capital firms in New York considering a sizable investment in a major digital music service. It's unusual, because VCs are still skittish about investing in this space.

12:00 PM A regular video conference with my team of lawyers to discuss performance right organizations. Most of us eat lunch during these meetings because there's no other time to grab a meal.

2:00 PM Speak with a videogame developer about a new strategy for an innovative interactive platform.

3:00 PM Check in with Neil Young. We're doing licensing work on his new music service, Pono.

4:00 PM Meet with a startup client to discuss funding a multimedia music product to replace the physical CD. There are tremendous opportunities for new experiences beyond a collection of 12 tracks.

5:00 PM Call the director of the Alliance Theatre in Atlanta to discuss an upcoming fund-raiser. Many plays started there and went global--Elton John and Tim Rice's "Aida" as well as "Ghost Brothers of Darkland County," a collaboration between John Mellencamp and Stephen King.

9:00 PM Head to the airport to catch a flight to London for three days of meetings with publishers. Maybe on the flight I can catch a little more sleep.

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