The Role of the Register of Copyrights in the Registration Process: a Critical Appraisal of Certain Exclusionary Regulations *
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The Music Modernization Act of 2018 and Its Burgeoning Impact Jeffrey G
The Music Modernization Act of 2018 and its Burgeoning Impact Jeffrey G. Knowles, Partner, Coblentz Patch Duffy & Bass LLP Lisa M. Schreihart, Attorney Abstract The Music Modernization Act of 2018 (“MMA”), enacted October 11, 2018, is the most significant reform of music copyright law in decades. As the first major legislation since the Copyright Act of 1976 to affect music royalties, the MMA has made major strides in improving compensation and to level the playing field for all music creators, including songwriters, legacy artists, and music producers. The MMA modernizes the musical works licensing scheme for today’s digital music environment, provides federal copyright protection for pre-1972 sound recordings, and ensures that music producers can get a piece of the royalty pie. The MMA may also have some shortcomings that allow room for legislative growth in the modern music era. This paper describes the key parts of the MMA and eXamines the benefits and criticisms of the Act that have surfaced in the Act’s first year as law. An Overview of the Music Modernization Act The Music Modernization Act (MMA), proposed as H.R. 1551 by Representatives Orrin G. Hatch and Bob Goodlatte, combined the Music Modernization Act of 2018 (S. 2334), the Classics Protection and Access Act (S. 2393), and the Allocation for Music Producers Act (S. 2625). The MMA, an amended version of S. 2823, passed unanimously both in the House as H.R. 5447 on April 25, 2018 and in the Senate on September 18, 2018. The MMA was enacted October 11, 2018. The MMA is intended to: 1) increase compensation to songwriters and streamline licensing of their music; 2) enable artists who recorded music before 1972 to be paid royalties when their music is played on digital services; and 3) enable music producers (e.g., record producers, sound engineers, and other studio professionals) to receive royalties for their creative contributions to recorded music. -
Circular 1 Copyright Basics
CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice. -
Section 1201 Rulemaking: Seventh Triennial Proceeding to Determine
united states copyright office section 1201 rulemaking: Seventh Triennial Proceeding to Determine Exemptions to the Prohibition on Circumvention recommendation of the acting register of copyrights october 2018 Section 1201 Rulemaking: Seventh Triennial Proceeding to Determine Exemptions to the Prohibition on Circumvention Recommendation of the Acting Register of Copyrights TABLE OF CONTENTS I. INTRODUCTION ................................................................................................................. 1 II. LEGAL BACKGROUND ..................................................................................................... 9 A. Section 1201(a)(1) ............................................................................................................. 9 B. Relationship to Other Provisions of Section 1201 and Other Laws ........................ 11 C. Rulemaking Standards ................................................................................................. 12 D. Streamlined Renewal Process ...................................................................................... 17 III. HISTORY OF SEVENTH TRIENNIAL PROCEEDING ................................................ 20 IV. RENEWAL RECOMMENDATIONS ............................................................................... 22 V. DISCUSSION OF NEW PROPOSED CLASSES ............................................................. 31 A. Proposed Class 1: Audiovisual Works—Criticism and Comment ......................... 31 B. Proposed Class 2: Audiovisual -
An Introduction to Copyright for Small and Medium-Sized Enterprises
For more information contact the: World Intellectual Property Organisation (WIPO) 34, Chemin des Colombettes P.O Box 18 creative CH-1211 Geneva 20 Switzerland. Fax: +41 22 338 87 60 Email: [email protected] Web page: http://www.wipo.int/sme expressionS Intellectual Property for Business Series 4 | 4 Copies of all publications in this series are available from: An Introduction to The Department of Trade and Industry (DTI) Copyright for Small Postal Address: and Medium-sized Private Bag x400 Pretoria Enterprises 0001 Physical Address: The dti Campus 77 Meintjies Street Sunnyside, Pretoria Web page: www.thedti.gov.za Call Centre: 0861 843 384 Email: [email protected] creative expressionS An Introduction to Copyright for Small and Medium-sized Enterprises Intellectual Property for Business Series 4 | 4 PUBLICATIONS IN THE “INTELLECTUAL PROPERTY FOR BUSINEss” serieS: 1. Making a Mark: An Introduction to Trade marks for Small and Medium-sized Enterprises. 2. Looking Good: An Introduction to Aesthetic Designs for Small and Medium-sized Enterprises. 3. Inventing the Future: An Introduction to Patents and Functional Designs for Small and Medium- sized Enterprises. 4. Creative Expressions: An Introduction to Copyright for Small and Medium-sized Enterprises. All publications in the series are available from the Department of Trade and Industry at: [email protected] 2 PREFACE This is the fourth in a series of guides developed under the World Intellectual Property Organisation (WIPO) Developement Agenda project to assist small and medium sized enterprises (SMEs) to navigate and optimally utilise the South African intellectual property right system. The guide provides a user friendly overview and explanation of South African copyright law. -
Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted. -
ELDRED V. ASHCROFT: the CONSTITUTIONALITY of the COPYRIGHT TERM EXTENSION ACT by Michaeljones
COPYRIGHT ELDRED V. ASHCROFT: THE CONSTITUTIONALITY OF THE COPYRIGHT TERM EXTENSION ACT By MichaelJones On January 15, 2003, the Supreme Court upheld the constitutionality of the Copyright Term Extension Act ("CTEA"), which extended the term of copyright protection by twenty years.2 The decision has been ap- plauded by copyright protectionists who regard the extension as an effec- tive incentive to creators. In their view, it is a perfectly rational piece of legislation that reflects Congress's judgment as to the proper copyright term, balances the interests of copyright holders and users, and brings the3 United States into line with the European Union's copyright regime. However, the CTEA has been deplored by champions of a robust public domain, who see the extension as a giveaway to powerful conglomerates, which runs contrary to the public interest.4 Such activists see the CTEA as, in the words of Justice Stevens, a "gratuitous transfer of wealth" that will impoverish the public domain. 5 Consequently, Eldred, for those in agree- ment with Justice Stevens, is nothing less than the "Dred Scott case for 6 culture." The Court in Eldred rejected the petitioners' claims that (1) the CTEA did not pass constitutional muster under the Copyright Clause's "limited © 2004 Berkeley Technology Law Journal & Berkeley Center for Law and Technology. 1. Sonny Bono Copyright Term Extension Act, 17 U.S.C. §§ 108, 203, 301-304 (2002). The Act's four provisions consider term extensions, transfer rights, a new in- fringement exception, and the division of fees, respectively; this Note deals only with the first provision, that of term extensions. -
Copyright Law Revision
COPYRIGHT LAW REVISION REPORT OF THE REGISTER OF COPYRIGHTS ON THE GENERAL REVISION OF THE U.S. COPYRIGHT LAW JULY 1961 Printed for the use of the House-- Committee on the Judiciary U.S. GOVERNMENT PRINTING OFFICE 676682 WASHINGTON : 1961 For sale by the Superlntendent of Documents, U.S. Qo7cmment Prlntlug O5ce Wn~bington25, D.O. - Prlco 45 cent8 LETTER OF TRANSMITTAL THE LIBRAR~AWOF CORORESB, Washington, l).C. July 7, 1961. Hon. SAMRAYE~N, Igpealcw of the House of Representatices, Washington. D.C. SIB: As authorized by Congress, the Copyright Office of the =brary of Con- gress has in the past few years made a number of studies preparatory to a general revision of the copyright law, title 17 of the United States Code. That program bas now been completed. Thirty-four studies and a subject index have been published in a series of 12 committee prints issued by the Subcommittee on Patents, Trademarks, and Copyrights of the Senate Committee on the Judiciary. The studies have been widely circulated and interested persons were inrited to submit their comments and views. On the basis of the studies and the comments and views received. the Copy- right Ofece has prepared a report on the important issues to be considered and tentative recommendations for their solution in a general revision of the law. I am pleased to submit the report of the Register of Copyrights on general re vision of the copyright law to you find to the Vice President for consideration by the Congress. Very truly yours, L. QUINCYMUMFOBD, Librarian of Congress. -
Supreme Court of the United States
(Slip Opinion) OCTOBER TERM, 2002 1 Syllabus NOTE: Where it is feasible, a syllabus (headnote) will be released, as is being done in connection with this case, at the time the opinion is issued. The syllabus constitutes no part of the opinion of the Court but has been prepared by the Reporter of Decisions for the convenience of the reader. See United States v. Detroit Timber & Lumber Co., 200 U. S. 321, 337. SUPREME COURT OF THE UNITED STATES Syllabus ELDRED ET AL. v. ASHCROFT, ATTORNEY GENERAL CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE DISTRICT OF COLUMBIA CIRCUIT No. 01–618. Argued October 9, 2002—Decided January 15, 2003 The Copyright and Patent Clause, U. S. Const., Art. I, §8, cl. 8, provides as to copyrights: “Congress shall have Power . [t]o promote the Progress of Science . by securing [to Authors] for limited Times . the exclusive Right to their . Writings.” In the 1998 Copyright Term Extension Act (CTEA), Congress enlarged the duration of copy- rights by 20 years: Under the 1976 Copyright Act (1976 Act), copy- right protection generally lasted from a work’s creation until 50 years after the author’s death; under the CTEA, most copyrights now run from creation until 70 years after the author’s death, 17 U. S. C. §302(a). As in the case of prior copyright extensions, principally in 1831, 1909, and 1976, Congress provided for application of the en- larged terms to existing and future copyrights alike. Petitioners, whose products or services build on copyrighted works that have gone into the public domain, brought this suit seeking a de- termination that the CTEA fails constitutional review under both the Copyright Clause’s “limited Times” prescription and the First Amendment’s free speech guarantee. -
Copyright 2018 4Th Edition a Practical Cross-Border Insight Into Copyright Law
ICLG The International Comparative Legal Guide to: Copyright 2018 4th Edition A practical cross-border insight into copyright law Published by Global Legal Group, in association with Bird & Bird LLP With contributions from: Anderson Mōri & Tomotsune KISCH IP Arnold & Porter Kaye Scholer LLP LexOrbis Bereskin & Parr LLP LPS L@w Bird & Bird LLP MinterEllison BROSS & PARTNERS PEREZ CORREA & ASOCIADOS, SC Daniel Legal & IP Strategy S. P. A. Ajibade & Co Deep & Far Attorneys-at-Law Seow & Associates FRORIEP Legal SA SyCip Salazar Hernandez & Gatmaitan Gorodissky & Partners (Ukraine) Vash Patent LLC Güzeldere & Balkan Law Firm Weisselberg Avocat HOYNG ROKH MONEGIER ZY Partners JIPYONG The International Comparative Legal Guide to: Copyright 2018 General Chapter: 1 Communication to the Public: the Only Right Worth Talking About? – Will Smith & Phil Sherrell, Bird & Bird LLP 1 Contributing Editor Country Question and Answer Chapters: Phil Sherrell, Bird & Bird LLP 2 Australia MinterEllison: John Fairbairn & Emily Hawcroft 7 Sales Director Florjan Osmani 3 Brazil Daniel Legal & IP Strategy: Giovanna M. Sgaria de Morais Moulin & Account Director Hannah Vitória M. Fernandes 14 Oliver Smith Sales Support Manager 4 Canada Bereskin & Parr LLP: Jill Jarvis-Tonus 20 Toni Hayward 5 China ZY Partners: Zhou Qiang & Deng Huiqiong 26 Senior Editors Suzie Levy, Rachel Williams 6 France Weisselberg Avocat: Elise Weisselberg 32 Chief Operating Officer Dror Levy 7 Germany HOYNG ROKH MONEGIER: Thomas H. Schmitz & Mathis Breuer 37 Group Consulting Editor Alan Falach 8 India LexOrbis: Dheeraj Kapoor & Aprajita Nigam 42 Publisher Rory Smith 9 Japan Anderson Mōri & Tomotsune: Masayuki Yamanouchi & Yuri Fukui 49 Published by 10 Korea JIPYONG: Seung Soo Choi & Seungmin Jasmine Jung 55 Global Legal Group Ltd. -
Circular 2 Copyright Registration
CIRCULAR 2 Copyright Registration This circular provides guidelines for An application for copyright registration contains three submitting a complete, accurate essential elements: a completed application form, a nonre- fundable filing fee, and a nonreturnable deposit—that is, a copyright claim. It covers copy or copies of the work being registered and “deposited” • Completing online and paper with the Copyright Office. The Office will not review your claim until it has received these three elements in compliance applications with its regulations and policies. • Submitting a filing fee This circular provides guidelines to help you make sure 1 • Preparing a deposit copy you submit a complete, accurate copyright claim. Detailed registration requirements can be found in the Compendium • Communicating with the Office of U.S. Copyright Office Practices. • Determining when your registration takes effect Copyright Application A copyright application establishes the basic facts of a claim: the title of the work, the author of the work, the name and address of the claimant or owner of the copyright, the year of creation, whether the work is published, whether the work has been previously registered, and whether the work includes preexisting material. Once submitted to the Office, the application becomes part of the public record and can be viewed by the public upon request. In completing an application, it is important to give clear and accurate information. Establishing a full, accurate record serves the public interest, provides potential licensees with accurate information, and decreases the cost of copyright litigation. Online Application The Copyright Office strongly encourages you to apply online to register an individual literary work, visual arts work, motion picture, musical work, sound recording, other per- forming arts work, or single serial issue. -
Copyright Manual on Registration of Artistic Works and Incidental Issues
COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES Government of India Ministry of Commerce and Industry Department of Industrial Policy and Promotion COPYRIGHT OFFICE COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES OBJECTIVE The General Objective of the “Copyright Manual on Registration of Artistic Works and Incidental Issues” being published shall be to bring uniformity and consistency of practice with respect to the procedures involved in the examination and registration of various Copyright applications pertaining to artistic works in administration of the Copyright Act 1957 and Copyright Rules 2013 made thereunder. It is further hoped that the manual will be useful for the examiners of the Copyright Office and the users of the system. 1 COPYRIGHT MANUAL ON REGISTRATION OF ARTISTIC WORKS AND INCIDENTAL ISSUES FOREWORD “Copyright is a form of protection provided by the Indian legislature to authors/ owners of original works of authorship from the time the works are created and expressed in a tangible form”. Copyright is a right which subsists in a number of different kinds of works such as literary, dramatic, musical or artistic works, sound recording and cinematograph films.1 The Copyright Act 1957 governs the law related to the copyrights in India. The Copyright Act, 1957 as amended in 2012, supplemented by the Copyright Rules, 2013, with subsequent amendments, is the governing law for copyright protection in India. India is a member of the Berne Conventions and Universal Copyright Convention. The Government of India has also issued the International Copyright Order, 1999, according to this order; any work first published in any country - which is a member of any of the above conventions - is granted the same treatment as if it was first published in India. -
The Orrin Hatch – Bob Goodlatte Music Modernization Act
The Orrin Hatch – Bob Goodlatte Music Modernization Act A Guide for Sound Recordings Collectors This study was written by Eric Harbeson, on behalf of and commissioned by the National Recording Preservation Board. Members of the National Recording Preservation Board American Federation of Musicians National Academy of Recording Arts and Sciences Billy Linneman Maureen Droney Alternate: Daryl Friedman American Folklore Society Burt Feintuch (in memoriam) National Archives and Records Administration Alternate: Timothy Lloyd Daniel Rooney Alternate: Tom Nastick American Musicological Society Judy Tsou Recording Industry Association of America Alternate: Patrick Warfield David Hughes Alternate: Patrick Kraus American Society of Composers, Authors and Publishers SESAC Elizabeth Matthews John JosePhson Alternate: John Titta Alternate: Eric Lense Association for Recorded Sound Collections Society For Ethnomusicology David Seubert Jonathan Kertzer Alternate: Bill Klinger Alternate: Alan Burdette Audio Engineering Society Songwriters Hall of Fame George Massenburg Linda Moran Alternate: Elizabeth Cohen Alternate: Robbin Ahrold Broadcast Music, Incorporated At-Large Michael O'Neill Michael Feinstein Alternate: Michael Collins At-Large Country Music Foundation Brenda Nelson-Strauss Kyle Young Alternate: Eileen Hayes Alternate: Alan Stoker At-Large Digital Media Association Mickey Hart Garrett Levin Alternate: ChristoPher H. Sterling Alternate: Sally Rose Larson At-Large Music Business Association Bob Santelli Portia Sabin Alternate: Al Pryor Alternate: Paul JessoP At-Large Music Library Association Eric Schwartz James Farrington Alternate: John Simson Alternate: Maristella Feustle Abstract: The Music Modernization Act is reviewed in detail, with a Particular eye toward the implications for members of the community suPPorted by the National Recording Preservation Board, including librarians, archivists, and Private collectors. The guide attemPts an exhaustive treatment using Plain but legally precise language.