Music Modernization Act Compliance Selected Materials by Chris Castle

Total Page:16

File Type:pdf, Size:1020Kb

Music Modernization Act Compliance Selected Materials by Chris Castle Christian L. Castle Admitted in California and Texas Music Modernization Act Compliance Selected Materials By Chris Castle Christian L. Castle, Attorneys [email protected] 9600 Great Hills Trail, Suite 150 West | Austin, Texas | 78759 Phone (512) 420-2200 | Fax (512) 519-2529 www.christiancastle.com Copyright Office Notice of Proposed Rulemaking 58170 Federal Register / Vol. 85, No. 181 / Thursday, September 17, 2020 / Proposed Rules LIBRARY OF CONGRESS Associate Register of Copyrights, by Copyright Office with ‘‘broad regulatory email at [email protected] or Anna authority’’ 6 to ‘‘conduct such Copyright Office B. Chauvet, Associate General Counsel, proceedings and adopt such regulations by email at [email protected]. Each as may be necessary or appropriate to 37 CFR Part 210 can be contacted by telephone by calling effectuate the provisions of [the MMA 7 [Docket No. 2020–8] (202) 707–8350. pertaining to the blanket license].’’ The SUPPLEMENTARY INFORMATION: MMA specifically directs the Copyright The Public Musical Works Database Office to promulgate regulations related I. Background and Transparency of the Mechanical to the MLC’s creation of a free database Licensing Collective On October 11, 2018, the president to publicly disclose musical work signed into law the Orrin G. Hatch-Bob ownership information and identify the AGENCY: U.S. Copyright Office, Library Goodlatte Music Modernization Act, sound recordings in which the musical of Congress. H.R. 1551 (‘‘MMA’’).1 Title I of the works are embodied.8 As discussed ACTION: Notice of proposed rulemaking. MMA, the Musical Works more below, the statute requires the Modernization Act, substantially public database to include various types SUMMARY: The U.S. Copyright Office is modifies the compulsory ‘‘mechanical’’ of information, depending upon issuing a notice of proposed rulemaking license for making and distributing whether a musical work has been regarding the Musical Works matched to a copyright owner.9 For both Modernization Act, title I of the Orrin G. phonorecords of nondramatic musical 2 matched and unmatched works, the Hatch-Bob Goodlatte Music works under 17 U.S.C. 115. It does so database must also include ‘‘such other Modernization Act. Title I establishes a by switching from a song-by-song information’’ ‘‘as the Register of blanket compulsory license, which licensing system to a blanket licensing Copyrights may prescribe by digital music providers may obtain to regime that will become available on regulation.’’ 10 The database must ‘‘be make and deliver digital phonorecords January 1, 2021 (the ‘‘license availability made available to members of the public of musical works. The law establishes a date’’), and be administered by a in a searchable, online format, free of new blanket license to become available mechanical licensing collective charge,’’ 11 as well as ‘‘in a bulk, on the January 1, 2021 license (‘‘MLC’’) designated by the Copyright 3 machine-readable format, through a availability date that will be Office. Among other things, the MLC is widely available software application,’’ administered by a mechanical licensing responsible for ‘‘[c]ollect[ing] and to certain parties, including blanket collective, which will make available a distribut[ing] royalties’’ for covered licensees and the Copyright Office, free public musical works database as part of activities, ‘‘[e]ngag[ing] in efforts to of charge, and to ‘‘[a]ny other person or its statutory duties. Having solicited identify musical works (and shares of entity for a fee not to exceed the public comments through previous such works) embodied in particular marginal cost to the mechanical notifications of inquiry, through this sound recordings and to identify and licensing collective of providing the notice the Office is proposing locate the copyright owners of such database to such person or entity.’’ 12 regulations concerning the new blanket musical works (and shares of such In addition, the legislative history licensing regime, including prescribing works),’’ and ‘‘[a]dminister[ing] a contemplates that the Office will categories of information to be included process by which copyright owners can ‘‘thoroughly review[ ]’’ 13 policies and in the public musical works database, as claim ownership of musical works (and 4 procedures established by the MLC and well as rules related to the usability, shares of such works).’’ It also must its three committees, of which the MLC interoperability, and usage restrictions ‘‘maintain the musical works database is statutorily bound to ensure are of the database. The Office is also and other information relevant to the ‘‘transparent and accountable,’’ 14 and proposing regulations in connection administration of licensing activities promulgate regulations that ‘‘balance[ ] with its general regulatory authority under [section 115].’’ 5 the need to protect the public’s interest related to ensuring appropriate A. Regulatory Authority Granted to the with the need to let the new collective transparency of the mechanical Copyright Office operate without over-regulation.’’ 15 licensing collective itself. The MMA enumerates several DATES: Written comments must be 6 regulations that the Copyright Office is H.R. Rep. No. 115–651, at 5–6; S. Rep. No. 115– received no later than 11:59 Eastern specifically directed to promulgate to 339, at 5; Conf. Rep. at 4. Time on October 19, 2020. 7 17 U.S.C. 115(d)(12)(A). govern the new blanket licensing ADDRESSES: For reasons of Government 8 See id. at 115(d)(3)(E), (e)(20). regime, and Congress invested the 9 efficiency, the Copyright Office is using Id. at 115(d)(3)(E)(ii), (iii). 10 the regulations.gov system for the Id. at 115(d)(3)(E)(ii)(V), (iii)(II). 1 Public Law 115–264, 132 Stat. 3676 (2018). 11 Id. at 115(d)(3)(E)(v). submission and posting of public 2 See S. Rep. No. 115–339, at 1–2 (2018); Report 12 Id. comments in this proceeding. All and Section-by-Section Analysis of H.R. 1551 by the 13 H.R. Rep. No. 115–651, at 5–6, 14; S. Rep. No. comments are therefore to be submitted Chairmen and Ranking Members of Senate and 115–339, at 5, 15; Conf. Rep. at 4, 12. The House Judiciary Committees, at 1 (2018), https:// Conference Report further contemplates that the electronically through regulations.gov. _ _ Specific instructions for submitting www.copyright.gov/legislation/mma conference Office’s review will be important because the MLC report.pdf (‘‘Conf. Rep.’’); see also H.R. Rep. No. must operate in a manner that can gain the trust of comments are available on the 115–651, at 2 (2018) (detailing the House Judiciary the entire music community, but can only be held Copyright Office website at https:// Committee’s efforts to review music copyright liable under a standard of gross negligence when copyright.gov/rulemaking/mma- laws). carrying out certain of the policies and procedures transparency. If electronic submission 3 As permitted under the MMA, the Office adopted by its board. Conf. Rep. at 4. designated a digital licensee coordinator (‘‘DLC’’) to 14 of comments is not feasible due to lack 17 U.S.C. 115(d)(3)(D)(ix)(I)(aa). represent licensees in proceedings before the 15 H.R. Rep. No. 115–651, at 5–6, 14; S. Rep. No. of access to a computer and/or the Copyright Royalty Judges (‘‘CRJs’’) and the 115–339, at 5, 15; Conf. Rep. at 4, 12. See also internet, please contact the Office using Copyright Office, to serve as a non-voting member SoundExchange Initial September NOI Comment at the contact information below for of the MLC, and to carry out other functions. 17 15; Future of Music Coalition (‘‘FMC’’) Reply special instructions. U.S.C. 115(d)(5)(B); 84 FR 32274 (July 8, 2019); see September NOI Comment at 3 (appreciating also 17 U.S.C. 115(d)(3)(D)(i)(IV), (d)(5)(C). ‘‘SoundExchange’s warning against too-detailed FOR FURTHER INFORMATION CONTACT: 4 17 U.S.C. at 115(d)(3)(C)(i)(V). regulatory language,’’ but ‘‘urg[ing] the Office to Regan A. Smith, General Counsel and 5 Id. at 115(d)(3)(C)(i)(IV). balance this concern for pragmatism and flexibility VerDate Sep<11>2014 18:46 Sep 16, 2020 Jkt 250001 PO 00000 Frm 00002 Fmt 4701 Sfmt 4702 E:\FR\FM\17SEP2.SGM 17SEP2 jbell on DSKJLSW7X2PROD with PROPOSALS2 Federal Register / Vol. 85, No. 181 / Thursday, September 17, 2020 / Proposed Rules 58171 Congress acknowledged that ‘‘[a]lthough language that might be helpful to ‘‘robust’’ 24 oversight. Given these the legislation provides specific criteria consider in promulgating regulations, comments, on April 22, 2020, the Office for the collective to operate, it is to be discussion of the pros and cons of issued a second notification of inquiry expected that situations will arise that applicable standards, and whether seeking further comment on information were not contemplated by the historical snapshots of the database to be included in the public musical legislation,’’ and that ‘‘[t]he Office is should be maintained to track works database, usability, expected to use its best judgement in ownership changes over time).20 In interoperability, and usage restrictions determining the appropriate steps in addition, the September NOI sought of the database, and transparency and those situations.’’ 16 Legislative history public comment on any issues that general oversight of the MLC (‘‘April further states that ‘‘[t]he Copyright should be considered relating to the NOI’’).25 Office has the knowledge and expertise general oversight of the MLC.21 Having reviewed and considered all regarding music licensing through its In response, many commenters relevant comments received in response past rulemakings and recent assistance emphasized the importance of to both notifications of inquiry, and to the Committee[s] during the drafting transparency of the public database and having engaged in ex parte 17 of this legislation.’’ Accordingly, in the MLC’s operations,22 and urged the communications with commenters, the designating the MLC, the Office stated Office to exercise ‘‘expansive’’ 23 and Office issues a proposed rule regarding that it ‘‘expects ongoing regulatory and the categories of information to be other implementation efforts to .
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • MMA”)1 Was Signed Into Law on October 11, 2018, a Major Accomplishment for a Mostly United Music Industry
    The Music Modernization Act: An Oral History The Orrin G. Hatch-Bob Goodlatte Music Modernization Act (“MMA”)1 was signed into law on October 11, 2018, a major accomplishment for a mostly united music industry. The MMA has many changes in store, including a new royalty collective for the reproduction of songs on digital music services, changes in the treatment of pre-72 sound recordings, and compensation for record producers.2 Stakeholders and observers from across the music industry, including recorded music, publishing and the Copyright Office, will discuss some of the topics and controversies the new law addresses3, how so many were able to come together to get to this historic point and what lies ahead. I. Problems, Solutions and Compromises4 a. Section 115 Reform i. Problems Prior to the MMA, digital music providers such as Amazon, Spotify and others obtained “mechanical licenses” – licenses to reproduce and distribute copyrighted musical compositions (songs) in various physical and digital media – directly from the owners of the compositions or via a statutory license in Section 115 of the Copyright Act.5 That statutory license, available since 1909, provided a mechanism by which users of songs could license their mechanical reproductions by providing notice to the copyright owner and paying fees in accordance with the relevant regulations.6 In the 21st century, there was an advent of digital music providers making millions of songs available to the public via download or on- demand streaming .7 These uses (called “digital phonorecord deliveries”) required mechanical licenses; however, there was not an efficient way to obtain all the required licenses for the vast libraries of songs made available to consumers, as the available statutory license was not a blanket license.
    [Show full text]
  • Money for Something: Music Licensing in the 21St Century
    Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI.
    [Show full text]
  • Songwriters V. Spotify: Is Spotify the Problem Or a Symptom of the Problem?
    Pepperdine Law Review Volume 48 Issue 3 Article 4 5-15-2021 Songwriters v. Spotify: Is Spotify the Problem or a Symptom of the Problem? Mariana L. Orbay Follow this and additional works at: https://digitalcommons.pepperdine.edu/plr Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Mariana L. Orbay Songwriters v. Spotify: Is Spotify the Problem or a Symptom of the Problem?, 48 Pepp. L. Rev. 785 (2021) Available at: https://digitalcommons.pepperdine.edu/plr/vol48/iss3/4 This Comment is brought to you for free and open access by the Caruso School of Law at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Law Review by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected]. Songwriters v. Spotify: Is Spotify the Problem or a Symptom of the Problem? Abstract Today, streaming is the prevailing mode of music consumption. Yet, streaming services are struggling to turn a profit, as songwriters also face significant financial challenges in the streaming era. All the while, record labels are collecting the majority of streaming revenue and seeing record profits. The 2018 Music Modernization Act attempted to address songwriters’ and streaming services’ financial problems by altering the factors considered by the Copyright Royalty Board in determining the mechanical royalty rates owed by streaming platforms to songwriters. A proper application of this newly instated factor test necessitates considering both songwriters’ and streaming services’ business operations and finances. However, during the 2018–2022 mechanical rate determinations, the majority court largely disregarded the financial interests of streaming services in determining the new mechanical rate.
    [Show full text]
  • Why Copyright Law Should Adopt Patent Law Standards for Joint Authorship of Sound Engineers
    Fordham Intellectual Property, Media and Entertainment Law Journal Volume 29 XXIX Number 4 Article 7 2019 Bringing Swirly Music to Life: Why Copyright Law Should Adopt Patent Law Standards for Joint Authorship of Sound Engineers Andrew Nietes [email protected] Follow this and additional works at: https://ir.lawnet.fordham.edu/iplj Part of the Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Andrew Nietes, Bringing Swirly Music to Life: Why Copyright Law Should Adopt Patent Law Standards for Joint Authorship of Sound Engineers, 29 Fordham Intell. Prop. Media & Ent. L.J. 1321 (2019). Available at: https://ir.lawnet.fordham.edu/iplj/vol29/iss4/7 This Note is brought to you for free and open access by FLASH: The Fordham Law Archive of Scholarship and History. It has been accepted for inclusion in Fordham Intellectual Property, Media and Entertainment Law Journal by an authorized editor of FLASH: The Fordham Law Archive of Scholarship and History. For more information, please contact [email protected]. Bringing Swirly Music to Life: Why Copyright Law Should Adopt Patent Law Standards for Joint Authorship of Sound Engineers Cover Page Footnote J.D. Candidate, Fordham University School of Law, 2020; B.M., Instrumental Performance & Sociology, New York University, 2016. Thank you to Professor Ron Lazebnik for all of his help, patience, and guidance during this note-writing process. I would also like to thank the IPLJ Editorial Board and staff for their hard work and advice, particularly Senior Research & Writing Editor Sean Corrado. Finally, thank you to my parents and friends for supporting me and allowing me to bore them with conversations about music and law.
    [Show full text]
  • Journal of the Music & Entertainment Industry Educators Association
    Journal of the Music & Entertainment Industry Educators Association Volume 19, Number 1 (2019) Bruce Ronkin, Editor Northeastern University Paul Linden, Associate Editor University of Southern Mississippi Ben O’Hara, Associate Editor (Book Reviews) Australian College of the Arts Published with Support from Mechanical Licensing Before and After the Music Modernization Act Serona Elton University of Miami https://doi.org/10.25101/19.1 Abstract The Music Modernization Act (MMA), signed into law in the United States on October 11, 2018, made significant changes to digital music li- censing. The act was an omnibus act, combining three previously intro- duced bills. One of those bills, referred to as the Musical Works Mod- ernization Act (MWMA), focused on the mechanical licensing process. This paper explains the foundational elements of mechanical licensing, including what a mechanical license is, how it is obtained, and who is re- sponsible for obtaining one. It also explores the ways that the MWMA has modified the availability of the compulsory license and created a blanket licensing approach. Finally, it presents several open questions which must be addressed before the new Mechanical Licensing Collective (MLC) can become operational. Keywords: music copyright, Music Modernization Act (MMA), Mu- sical Works Modernization Act (MWMA), mechanical license, mechani- cal licensing, Mechanical Licensing Collective (MLC) Introduction On October 11, 2018 the Music Modernization Act (MMA) was signed into law.1 The Act, an amendment to United States
    [Show full text]
  • AN EVALUATION of the MUSIC MODERNIZATION ACT Bronté
    STREAMING INTO THE TWENTY-FIRST CENTURY: AN EVALUATION OF THE MUSIC MODERNIZATION ACT Bronté Story1 I. AN INTRODUCTION TO THE MUSIC MODERNIZATION ACT The Music Modernization Act (MMA) was passed unanimously by the House and Senate and signed into law in October of 2018 by President Donald Trump.2 Its overall purpose is to modernize United States copyright law by bringing it into the twenty-first century.3 One of the most important aspects of this Act is it sets out to create a Mechanical Licensing Collective (“MLC”), which will be funded by digital music providing services that will in turn be granted blanket mechanical licenses for “interactive streaming or digital downloads of musical works.”4 The MLC is one of the main outcomes of Title I of the MMA, which embodies three different titles.5 Title I’s overall purpose is to assist in the music licensing industry as more streaming services continue to develop.6 Before this revision, streaming services required individual licenses 1. Bronté Story is a 2020 candidate for Juris Doctor from SMU Dedman School of Law. She received a Bachelor of Arts in Combined Journalism-Political Science from University of Arkansas – Fayetteville in 2017. 2. Dave Davis, Music Modernization Act of 2018 Becomes Law, COPYRIGHT CLEARANCE CTR.: COPYRIGHT BLOG (Oct. 11, 2018), http://www.copyright.com/blog/music-modernization-act- introduced-house-senate/. 3. See id. 4. Overview of the Music Modernization Act, https://lieu.house.gov/sites/lieu.house.gov/files/Overview%20of%20the%20Music%20Moderniz ation%20Act.pdf (last visited Mar. 7, 2019).
    [Show full text]
  • The Law and Accessible Texts: Reconciling Civil Rights and Copyrights
    The Law and Accessible Texts: Reconciling Civil Rights and Copyrights July 8, 2019 Brandon Butler Prue Adler Krista Cox Table of Contents Acknowledgements 4 Executive Summary 6 Introduction 8 1. Disability Rights Obligations for Institutions of Higher Education 10 Key Legal Provisions 11 Enforcement 12 2. Why Perceived Copyright Limits Have Been a Barrier to Accessibility 13 3. Each Step of a Remediation and Sharing Workflow Is Permitted by Copyright 16 The Request 17 Remediation 18 Delivery 19 Retention and Sharing 19 4. Copyright Law Provides IHEs and Affiliates Broad Latitude to Make and Share Accessible Texts 20 Copyright’s Purpose 21 Fair Use and the HathiTrust Opinion 21 Legislative History 23 Code of Best Practices 23 Authors Guild v. HathiTrust 24 Section 121 28 Interpreting the Text 28 Relation to Fair Use 31 The Marrakesh Treaty, Section 121A, and the United States’ Continuing Commitment to Accessibility 32 Section 121A and Cross-Border Sharing 33 The Treaty as Evidence of Ongoing Legislative Commitment to Accessibility 34 The Copyright Office and Librarian of Congress’s History of Favoring Accessibility in the 1201 Rulemaking 36 The Law and Accessible Texts: Reconciling Civil Rights and Copyrights 2 5. Risk Management in Areas of Discretion 37 Mission Risk 38 Privacy 38 Autonomy 39 Politics 40 6. Conclusion 41 Endnotes 43 Correction, August 19, 2019: In an earlier version of this paper, on page 33, the 285 million people in the world who are blind or visually impaired were incorrectly identified as print-disabled. The number of people with print disabilities is much larger than 285 million because it includes people with non-visual print-disabling impairments, such as dyslexia.
    [Show full text]
  • The Music Modernization Act
    COPYRIGHT JUMPS THE SHARK: THE MUSIC MODERNIZATION ACT LYDIA PALLAS LOREN ABSTRACT The Music Modernization Act (“MMA”) codifies a host of compromises and licensing arrangements worked out among music publishers, record labels, and digital music services. It adds an extremely voluminous, complex, and detailed licensing regime for mechanical copies of musical works that is of particular importance to digital music services and music publishers. Promoted as a way to reduce transaction costs, the blanket license facilitates the use of all musical works, even those works whose copyright owners cannot be located. The MMA also brings pre-1972 sound recordings into the federal copyright regime and importantly subjects those sound recordings to the statutory licensing available under the Copyright Act. These innovations will aid the current state of rights surrounding digital music streaming services. However, despite being promoted as a way to bring more equal treatment to the industry, in many ways the MMA increases the disparity in treatment between musical work copyright owners and sound recording copyright owners. While ultimately the royalties received by those two groups of copyright owners will likely become more similar, the way the MMA achieves that result is not through an equal treatment of the different copyrights. Additionally, while owners of pre-1972 sound recording rights will now have federal statutory rights that are similar to those enjoyed by owners of post-1972 sound recording copyrights, in many ways the artists who created those different works continue to be treated quite differently. A special thank you to Professor Wendy J. Gordon, whose lifelong dedication to the field of copyright law has enriched the field for decades.
    [Show full text]
  • What You Need to Know About the Music Modernization Act Abdo & Abdo1
    VOLUME 35, NUMBER 1 WINTER 2019 Entertainment and Sports Lawyer A PUBLICATION OF THE AMERICAN BAR ASSOCIATION FORUM ON THE ENTERTAINMENT & SPORTS INDUSTRIES What You Need To Know About The Music Modernization Act Abdo & Abdo1 n October 11, 2018, The Orrin G. Hatch-Bob Good- sound recordings along with the musical performers, did not latte Music Modernization Act (“MMA”) was enjoy a statutory right to royalties on streaming revenues.14 Osigned into law.2 The MMA amends the Copyright The Copyright Act has been periodically updated to Act and will have a significant impact on the music industry protect authors’ economic rights in times of technologi- in general and the music publishing industry in particular.3 cal advancement.15 From the invention of phonorecords, to Since the last major revision of the Copyright Act in 1998,4 player piano rolls, digital radio, internet file sharing, per- the music industry has experienced a profound paradigm manent audio downloads, music streaming and beyond, shift. Most music consumers no longer purchase physical the law has always chased technology.16 The MMA is yet records, such as CDs, cassette tapes, and vinyl records.5 In another statutory fix that has been years in development fol- 2016, for the first time ever, streaming services accounted lowing years of need.17 This Article distills the MMA to its for the majority of U.S. music industry revenue.6 As of Mid- essential provisions, and explains its importance in the con- Year 2018, the Recording Industry Association of America text of the digital music streaming economy. (“RIAA”) reported that streaming accounts for 75% of U.S.
    [Show full text]
  • (9776900).Docx
    MITCHELL SILBERBERG & KNUPP LLP Eric J. Schwartz A LAW PARTNERSHIP INCLUDING PROFESSIONAL CORPORATIONS (202) 355-7903 Phone (202) 355-7893 Fax [email protected] February 6, 2020 Submitted via regulations.gov Docket No. USTR–2019–0023 Mr. Daniel Lee Acting Assistant United States Trade Representative for Innovation and Intellectual Property Office of the United States Trade Representative 600 17th Street, N.W. Washington, D.C. 20508 Re: SoundExchange, Inc. Written Comment in Response to USTR’s Request for Comments and Notice of Public Hearing Regarding the 2020 Special 301 Review, 84 Fed. Reg. 70613 (Dec. 23, 2019) Dear Mr. Lee: This submission by SoundExchange, Inc. (SoundExchange) is made in response to the above-captioned Federal Register Notice, which requested public comments regarding intellectual property protection and market access barriers in U.S. trading-partner countries, as part of the 2020 “Special 301” review. This filing focuses on particular market access barriers that have been imposed on American musical performers and producers in a handful of countries where the full payment of royalties has been denied for uses of American sound recordings1 on traditional broadcasts, public performances (e.g., “spins” in bars, restaurants and other public venues) and some digital uses. In these territories, “local” performers and musical producers are being fully compensated for such uses, while American performers and producers are being denied payments for the exact same uses. This discriminatory treatment is a denial of full national treatment in contravention to the purpose and principles of national treatment obligations found in multilateral treaties and trade agreements, and other bilateral commitments to the United States in each of these countries.
    [Show full text]