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AN INSIDE-OUT WITHOUT LIMITS™ APPROACH.

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Artistry and attention to craft worthy of the creative industries

Legal & Strategic Advisory: Artists at Law is a legal and strategic advisory practice focused on music, entertainment, and media. It works with artists, creators, entrepreneurs, and companies who are building careers and businesses around what they create – helping them protect what is theirs, recognize opportunity, build the right relationships, make difficult decisions, and find their way through an industry that rarely follows a straight line. Ideas & Conversation: Artists at Law is also a forum for thoughtful ideas and conversation. Through interviews, discussions, writing, and education, it demystifies the complexities of the creative industries, examines the history and practices that have shaped them, and explores where and how the industry can improve and evolve. Philosophy: At the heart of Artists at Law is the curiosity to delve deeper, the imagination to create bespoke solutions rather than opt for the obvious, the knowledge to understand what it finds, and the experience and judgment to know what to do with it. Above all, Artists at Law approaches this work with care and exceptional craftsmanship.

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Teresita Chavez Pedrosa

Helped Build and Later Led the Business & Legal Affairs Department at Rimas Entertainment

Litigation & Transactional Experience

Native Fluency in English + Spanish

Nearly Three Decades of Legal Experience

I am a music and entertainment lawyer and strategic advisor, with nearly three decades of legal experience, representing and counseling artists, songwriters, producers, executives, and entertainment companies in the United States, Latin America, and beyond. I founded Artists at Law after serving inside one of Latin music’s most influential companies, where I helped establish the legal infrastructure that became Rimas Entertainment’s Business & Legal Affairs department and went on to lead it. There, I worked directly on, and oversaw projects, for some of Latin music’s biggest stars, handling matters across the entertainment spectrum – from major label transactions, 360 and recording agreements, and joint ventures to touring, sponsorships, merchandising, copyright and trademark protection, music and video rights clearances, licensing, infringement claims, and litigation.

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Bar & Court Admissions

  • State of Florida
  • Supreme Court of the United States
  • U.S. Court of Appeals for the Eleventh Circuit
  • U.S. District Court for the Southern District of Florida

EDUCATION

  • LL.M. IN ENTERTAINMENT, ARTS AND SPORTS LAW
    University of Miami
  • MASTER OF SCIENCE IN MARKETING
    Florida International University
  • JURIS DOCTOR, CUM LAUDE
    Admiralty & Maritime Law Certificate, Tulane University School of Law
  • BACHELOR OF SCIENCE IN COMMUNICATIONS, HONORS
    Majors in Journalism and Political Science, University of Miami

Broad experience. Wider vision. Greater possibilities

How Artists at Law Helps

Creative careers and businesses are built through a series of decisions, opportunities, relationships and transactions – each affecting what comes next. Artists at Law advises artists, creators, entrepreneurs and entertainment companies across that continuum, from building careers and businesses and structuring important relationships, to negotiating opportunities, protecting intellectual property and revenue, navigating change, and resolving disputes when they arise. The practice spans recording, publishing, management, licensing, touring, branding, sponsorships, catalogs, royalties, digital media, business ventures, and the many other legal and strategic matters that arise as creative careers and businesses evolve.

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Always Learning

Creative people rarely stop at what they already know. They remain curious, draw inspiration from unexpected places and allow new ideas to change the way they see their work. We bring the same openness to what we do — we keep learning, deepen our understanding and remain willing to find a different approach when the traditional one does not fit the client, the circumstances or what they are trying to achieve.

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The music, entertainment and media industries are complex. Artists at Law helps you move forward with confidence.

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I am a music and entertainment lawyer and strategic advisor, with nearly three decades of legal experience, representing and counseling artists, songwriters, producers, executives, and entertainment companies in the United States, Latin America, and beyond. I founded Artists at Law after serving inside one of Latin music’s most influential companies, where I helped establish the legal infrastructure that became Rimas Entertainment’s Business & Legal Affairs department and went on to lead it. There, I worked directly on, and oversaw projects, for some of Latin music’s biggest stars, handling matters across the entertainment spectrum – from major label transactions, 360 and recording agreements, and joint ventures to touring, sponsorships, merchandising, copyright and trademark protection, music and video rights clearances, licensing, infringement claims, and litigation.

But early in my career, I hadn’t set out to become an entertainment lawyer. Certainly, I had danced in a Super Bowl halftime show and had once been a member of a pop trio. Also, after studying journalism and communications at the University of Miami and law at Tulane University, I contributed to news media outlets, organized and promoted events, and even co-produced Social Media Week Miami, a marketing conference that later became part of Adweek.

But my legal practice was serious business. I became a litigator, representing individuals and Fortune 500 companies in maritime and products liability cases. I also devoted time to advocating for abused and neglected children in dependency proceedings – some of my most meaningful work, protecting children and helping them find their footing in an adult world that had not always been kind to them.

Then, entertainment law found me.

One day, a friend and mentor called. She had become General Counsel of Rimas Entertainment and reached out to me as her first recruit. “We are so busy,” she explained. “We have this up-and-coming artist. His name is Bad Bunny.” As she spoke, I Googled: “Who is Bad Bunny?”

I took the leap and said yes, even though I was also pursuing a master’s degree in marketing at the time. Part of me had wanted to build something for some time. By then, I had also realized that law doesn’t matter only because of what it fights and resists, but also because of what it enables and helps create.

Finding myself in a music, entertainment, and media practice felt like coming home to a place where all the different parts of me finally fit together. My prior experience became my toolkit. It still influences how I draft, negotiate, anticipate problems, and assess risk, particularly when standard entertainment-law templates are not enough.

My litigation background helps me anticipate what could go wrong, challenge assumptions, and think several moves ahead. My marketing education helps me understand the commercial objectives behind a deal. And my experience in communications and events gives me an appreciation for the creative and practical realities of bringing ideas to life.

Sometimes those connections surface in unexpected ways. My construction-defect work informed my work in contracts involving concert stages and other temporary structures. My marketing background helped me think through what protecting the privacy rights of audiences and the public should look like in the real world, not just on paper. And when an artist wanted to charter a yacht for a music video, I didn’t just negotiate the charter. Drawing on my maritime experience, I anticipated and navigated admiralty issues that could have brought the production to a halt before the cameras ever rolled.

These are not necessarily things one expects to encounter in a music lawyer’s practice. But that’s precisely the point.

Breadth of experience lets you see more of the problem. It also gives you more ways to solve it.

I eventually returned to the University of Miami, taking coursework in both its law and music schools and earning an LL.M. in Entertainment, Arts and Sports Law. My education and training across different disciplines, together with the experiences I’ve gathered along the way, continue to shape how I approach my work. I have always been curious about how things fit together, especially things that, at first glance, don’t seem to belong together at all.

Today, I bring what I call an Inside-Out Without Limits™ philosophy to my practice. It begins with understanding the law, the business, and the industry from the inside. Having worked in-house, I know that an agreement doesn’t exist in isolation. Behind it are people, relationships, financial realities, creative ambitions, competing interests, and objectives that may not always be apparent on the page.

But understanding the world in which a deal is made is only part of the work. The other part is being willing to look beyond it. Beyond the four corners of an agreement. Beyond the usual way of structuring a deal. Beyond the assumptions we inherit about what is possible, or what a particular arrangement is supposed to look like. Sometimes the answer lies in another discipline. Sometimes it requires seeing an old problem from a different angle. And sometimes the right deal is one that hasn’t been imagined yet.

I value convention when it serves a purpose, but I don’t confuse it with necessity. “This is how it’s always done” has never struck me as a particularly compelling reason to do anything.

When someone hires me, they are placing something valuable in my hands – a career, a company, a catalog, a negotiation, an opportunity, or something they may have spent years creating. And what they’ve created is rarely just a product, a business, or a collection of rights.

There may be years of work behind it. Sacrifices no one else has seen. A family depending on its success. A song that began as a private thought and somehow found its way into the lives of strangers. An idea that became a livelihood, or a dream that grew into something much larger than the person who first imagined it.

I think about these things because the decisions we make as lawyers can shape what happens to them. The agreements we negotiate, the rights we protect, and the relationships we help build can determine not only who benefits from creative work, but whether that work has the freedom and opportunity to reach the world. And no two people arrive at that moment with the same story, the same ambitions, or the same idea of success. I don’t believe their solutions should be interchangeable either.

This is deeply human work, even when it involves contracts, numbers, and negotiations. Perhaps especially then. It deserves more than legal competence.

It deserves care, judgment, imagination, and craftsmanship.

A Little Less About Me