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Copyright and the World's Most Popular Song GW Law Faculty Publications & Other Works Faculty Scholarship 2010 Copyright and the World's Most Popular Song Robert Brauneis The George Washington University Law School, [email protected] Follow this and additional works at: https://scholarship.law.gwu.edu/faculty_publications Part of the Law Commons Recommended Citation Brauneis, Robert, "Copyright and the World's Most Popular Song" (2010). GW Law Faculty Publications & Other Works. 260. https://scholarship.law.gwu.edu/faculty_publications/260 This Article is brought to you for free and open access by the Faculty Scholarship at Scholarly Commons. It has been accepted for inclusion in GW Law Faculty Publications & Other Works by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. Copyright and the World’s Most Popular Song Table of Contents Introduction……………………….. ....................................................................................1 I. “Good Morning to All”: An Appreciative History ..............................................4 II. The Emergence and Triumph of “Happy Birthday to You” .............................15 III. The Copyright Status of “Happy Birthday to You” ..........................................22 A. Some Necessary Analytical Framework .................................................23 1. Derivative Works .................................................................23 2. Copyright Under the 1909 Act ..............................................24 B. The Original Term: The 1935 Publications ............................................25 1. Authorization and Authorship ...............................................26 a. The Myth of a Court Ruling .............................................28 b. Evidence of Authorship ....................................................29 i. The Patty Smith and Jessica Hill Depositions ............29 ii. Earlier Published Versions .........................................31 iii. The 1934-35 Registrations and Publications ..............33 iv. Later Published Versions ............................................36 v. Statements in the Hill Foundation Complaints ...........37 vi. Popular Accounts of Authorship ................................38 vii. A Summary .................................................................40 2. Publication with Notice.........................................................40 C. The Renewal Term ..................................................................................44 1. Summy-Birchard’s Eligibility to Apply for Renewal .................45 2. The Sufficiency of the Renewal Applications ............................48 D. Epilogue: Copyright and Ownership During the Renewal Term ............55 IV. Lessons From The History Of “Happy Birthday to You” .................................57 A. The Risks of Anecdotes ..........................................................................58 B. Barriers to Challenging Copyright Validity ............................................59 C. The Effects of Copyright Owners’ Failure to Enforce ............................62 D. Recordkeeping and Tracking in the Copyright Office ............................65 V. Conclusion……………. ....................................................................................68 Electronic copy available at: http://ssrn.com/abstract=1111624 Copyright and the World’s Most Popular Song Robert Brauneis∗ When Justice Breyer protested Congress’s 20-year extension of the term of copyright in his dissent in Eldred v. Ashcroft,1 he chose one song to emphasize what was to his mind the already overly generous protection of copyright law: “Happy Birthday to You (melody first published in 1893, song copyrighted after litigation in 1935), [the copyright of which is] still in effect and currently owned by a subsidiary of AOL Time Warner.”2 The example, even in that brief form, is a powerful one. “Happy Birthday to You” is a simple song that most people have learned by hearing it performed by family and friends, and many probably assume that it is not under copyright at all. 1893 is a long time ago – 106 years before Eldred was decided. And, for those who are unsympathetic to and suspicious of large corporations, AOL Time Warner – now just Time Warner – is one of the largest media and entertainment companies in the world.3 The newspaper article to which Justice Breyer cited, and others like it, recite a standard “Happy Birthday to You” anecdote that just seems to make the example more powerful. “Happy Birthday to You” started out life as “Good Morning to All,” a song with the same melody but different words, “written as a classroom greeting by two . teachers . who were sisters,”4 namely, Mildred and Patty Hill. This adds some element of authorship – the song is not just a folk song – but it suggests that the authors were not professionals, and more or less stumbled across the song while teaching, as it turns out, ∗ Associate Professor of Law and Co-Director of the Intellectual Property Law Program, The George Washington University Law School; Member, Managing Board, Munich Intellectual Property Law Center. I am indebted to a very large number of people who have selflessly aided me in researching and writing this article. For assistance with historical research, I would like to thank Ms. Kat Caverly of Kat Caverly Enterprises, Inc.; Ms. Emily G. Blaising of the Southwestern Baptist Theological Seminary; Mr. Gregory J. Plunges and Ms. Trina Yeckley of the New York City office of the National Archives and Records Administration, Northeast Region; the staff of the Chicago office of the National Archives and Records Administration, Great Lakes Region; William and Geraldine Brauneis (my parents, who aided me greatly with research in Chicago, where they live, and Louisville, and who undoubtedly first introduced me to “Happy Birthday to You” on my first birthday); Mr. Allen Foresta and Ms. Jennifer Govan of the Gottesman Libraries, Teachers College, Columbia University; Ms. Arlene Massimino and Ms. Susan Tell of the New York County Surrogate’s Court; Mr. James Holmberg of the Filson Historical Society, Louisville, Kentucky; Mr. Bruce Tabb and Ms. Linda J. Long of the Special Collections and University Archives Division of the University of Oregon Libraries; Prof. Michael Raley of Northeastern Illinois University; and Prof. Bruce Smith of the University of Illinois. For comments on drafts of the article, I would like to thank Roger Schechter, Robert Tuttle, Naomi Cahn, Alan Kress, Zvi Rosen, Robert Kasunic, Fred Lawrence, and Ralph Oman. For comments on the section of the article concerning Copyright Office recordkeeping procedures, I would like to thank David O. Carson. 1 537 U.S. 186 (2003). 2 Id. at 262 (Breyer, J., dissenting) (emphasis in original). 3 Time Warner has in the meantime spun off its music publishing and recording business to the Warner Music Group, see infra p, xxx, but this would not likely comfort those who don’t like large companies, since the Warner Music Group is still a very large company. 4 “Profitable ‘Happy Birthday,’” Times of London, Aug. 5, 2000, p. 6 1 Electronic copy available at: http://ssrn.com/abstract=1111624 kindergarten.5 Moreover, many have suggested that, notwithstanding the attribution of the song to the Hill sisters, it is so much like other previous songs that it should be treated as having arisen from a folk tradition rather than the creative talents of a particular author.6 “Happy Birthday to You” is not only currently under copyright, but will supposedly be under copyright until the year 2030 – 137 years after 1893, an incredibly long time even by the standards of the Copyright Term Extension Act that Justice Breyer concluded was unconstitutional.7 Thus fortified, the “Happy Birthday to You” anecdote has become a standard arrow in the quiver of those who feel copyright protection as gone too far, from Kembrew McLeod8 to Lawrence Lessig9 Is it possible to check the accuracy of this standard anecdote? It turns out that there are a number of rich sources of material on the history of the song that have remained largely untapped. These include filings in four federal court cases in the 1930s and 1940s involving “Good Morning to All”; filings in litigation over the management of a trust that owned the right to receive royalties from the song from 1942 to 1992; unpublished papers of and about Patty Hill at the Filson Historical Society in Louisville, Kentucky and at the Gottesmann Libraries at Teachers College, Columbia University; probate court records in Louisville and in Chicago, Illinois, where a brother of the Hill sisters died; transcription notebooks of Mildred Hill at the University of Oregon Libraries; and registration records and recorded transfers in the United States Copyright Office. Because many of these documents are not otherwise easily accessed, over a hundred of them have been published on the website of the Jacob Burns Law Library at The George Washington University Law School in conjunction with this article.10 Those documents, along with many other historical sources, reveal a history that is much more rich and complicated than the standard anecdote suggests. The true story of the song does not provide simple anecdotal fodder for either opponents or proponents of strong, long copyright. On the one hand, “Good Morning to All” was not a lark of amateurs. Rather, it was the product of a highly focused, laborious effort to write a song that was extremely simple to sing, yet musically interesting and
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