Pace Intellectual Property, Sports & Entertainment Law Forum Volume 4 Issue 2 Spring 2014 Article 6 April 2014 Cash from Chaos: Sound Recording Authorship, Section 203 Recapture Rights and a New Wave of Termination Hector Martinez Epitaph Follow this and additional works at: https://digitalcommons.pace.edu/pipself Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Hector Martinez, Cash from Chaos: Sound Recording Authorship, Section 203 Recapture Rights and a New Wave of Termination, 4 Pace. Intell. Prop. Sports & Ent. L.F. 445 (2014). Available at: https://digitalcommons.pace.edu/pipself/vol4/iss2/6 This Article is brought to you for free and open access by the School of Law at DigitalCommons@Pace. It has been accepted for inclusion in Pace Intellectual Property, Sports & Entertainment Law Forum by an authorized administrator of DigitalCommons@Pace. For more information, please contact
[email protected]. Cash from Chaos: Sound Recording Authorship, Section 203 Recapture Rights and a New Wave of Termination Abstract The thesis of this Article is that under an exclusive recording agreement entered into in the United States between a record label and recording artist on or after January 1, 1978, any key member of recording artist that signed the recording contract is a bona fide author of a sound recording for purposes of claiming standing in order to effectuate a termination of transfer of grant under Section 203 of the 1976 Copyright Act. Part I will summarize the history of sound recordings as copyrightable subject matter. Part II will examine record industry custom and practice as it relates to the relationship between recording artists and record labels under exclusive recording agreements.