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July 08, 2009

Circle C, Circle P: The Two Copyrights in Music

 

We get asked all the time about the copyright notices on CDs. There seems to be a lot of confusion about what is required and what exactly is meant by the “c in the circle” and the “p in the circle”. So let’s lift the veil on this issue.

 

There are two copyrights in music: the sound recording (which in general is owned by the record label) and the musical composition, including the lyrics (owned by the publishers). 

 

But there is also a separate copyright for the CD packaging and artwork.

 

The circle C refers to the packaging and artwork.  This notice should contain all of the following elements:

  • The symbol ©, or the word “Copyright,” or “Copr.”
  • The year of first publication
  • The name of the owner of the copyright in the work

Example: © 1983 ABC Record Co.

 

(The owner of the packaging would normally be the record company that specially-commissioned or otherwise acquired the work through an assignment of rights.)

 

The circle P refers to the sound recording (i.e. phonorecord).  The notice for a sound recording should contain all of the following:

  • The symbol (p)
  • The year of first publication of the sound recording
  • The name of the owner of the copyright in the sound recording

Example: (p) 1983 ABC Record Co.

 

(Again, the owner of the packaging would normally be the record company that specially-commissioned or otherwise acquired the work through an assignment of rights.)

 

What about the copyright in the underlying musical compositions?

 

There is no need to have a copyright notice for the compositions on the CD unless the lyrics are reprinted in the packaging. In that case, you would usually have a notice such as “Lyrics printed by permission © 2009 XYZ Publishing Co.”

 

Where should the copyright notices be positioned?

 

The notices should be affixed to copies of the CDs in a way that gives “reasonable notice of the claim of copyright.”  The three elements of the notices should appear together, as in the examples above, on the CDs or on the CD labels and inserts.

 

Are the notices really necessary?

 

The omission of notice does not affect copyright protection, and no corrective steps are required if the work was published on or after March 1, 1989.  For works published between January 1, 1978, but before March 1, 1989, no corrective steps are required if:

  • The notice is omitted from no more than a relatively small number of copies or CDs distributed to the public OR
  • The omission violated an express written requirement that the published copies or CDs bear the notice. 

This refers to the old copyright law requirement that a published copy bear the notice of copyright.  If it did not, the applicant had five years to cure the omission or error in notice before the work went into the public domain.  So, for works that are published between January 1, 1978 and March 1, 1989, no corrective steps are required if the omission violated an express written requirement that the published copies bear the notice (i.e., the old copyright law) because the work has already gone into the public domain.

 

In all other cases, for works published before March 1, 1989, to preserve copyright:

  • The work must have been registered before it was published or before the omission occurred, or it must have been registered within five years after the date of publication without notice AND
  • The copyright owner must have made a reasonable effort to add the notice to all copies or CDs that were distributed to the public in the United States after the omission was discovered.

If these steps were not taken, the work went into the public domain in the US five years after publication.  At that time all US copyright protection was lost and could not be restored.

 

Since prior law required the use of copyright notice, such use is still relevant to the copyright status of older works.  While the use of a copyright notice is no longer required under US law thanks to the Berne Convention, it is often beneficial.  Notice informs the public that the work is protected by copyright, identifies the copyright owner, and gives the year of first publication.  Further, if there is proper notice of copyright on the work, and the work is in fact infringed, it mitigates defendant’s claim of an innocent infringement defense.

June 10, 2009

Update - Events: Digital Music Distribution Panel

The Grammy Foundation® and The Entertainment Law Initiative® present Digital Music Distribution - The Paradigm Shift on Wednesday, June 10, 2009, from 7PM to 9PM.

BEAT-Law's Tony Berman will be a featured panelist, along with Jonathan Earp, VP of Legal Affairs, IODA; Sean Leonard, Digital Strategist; and David Hirshland, President, Bug Music.  Tony will be speaking about the subscription services business model as well as the issues of “disintermediation,” as that term is commonly understood by the digital music industry.

The purpose of this legal seminar is to educate and update the emerging trends of music industry distribution through "brick and mortar" stores to online digital music distribution with digital downloading technology such as Emusic.com, Napster, iTunes, and IODA.

Topics will include use of widgets, iTunes, blogging, Facebook, MySpace, YouTube, and more.

Gary Culpepper, Esq., co-founder and former Executive Vice President, Business and Legal Affairs Emusic, will moderate the seminar, with opening remarks by Scott Goldman, Vice President, The GRAMMY Foundation. It will be held at The NEW offices of The Recording Academy, 3030 Olympic Blvd., Santa Monica, CA.

 

 

April 13, 2009

Podcast: Business and Employment Issues for Bands

Today's podcast answers a question from Paul, a member of a tribute band whose theater-style shows involve numerous singers and musicians, as well as a great deal of interstate travel.  Paul asks how he can find out how income is taxed in various states?  Also, if he incorporates his band, will the band have to collect taxes from the performers as employees, or can they be hired as independent contractors?  Finally, is there an ultimate guidebook to bands navigating the music industry?



If you have a question you'd like Tony to answer on the M.E.L.O.N. podcast, please send it to melon@beat-law.com

Continue reading "Podcast: Business and Employment Issues for Bands" »

February 26, 2009

Podcast: What Royalties can I get for someone Sampling my Beats?

Today's podcast features BEAT-Law associate Mark A. Pearson answering a question from Robert, of Superstarz Ent.  Robert says, a record label wants to use some of his beats for a major recording artist.  What royalties is Robert entitled to?

If you have a question you'd like Mark or Tony to answer on the M.E.L.O.N. podcast, please send it to melon@beat-law.com

February 20, 2009

Will the PRO-IP Act Prove to be PRO-blematic?

by Shana Dines

Despite much controversy, President Bush signed into law the Prioritizing Resources and Organization for Intellectual Property Act of 2008, affectionately known as the PRO-IP Act, on October 13, 2008. 

The usual suspects were characteristically divided over the PRO-IP Act.  Big content owners (RIAA, MPAA) in the entertainment industry enthusiastically pushed the bill, while public interest groups (EFF, Public Knowledge) fiercely argued to have some of the most extreme provisions of the bill pulled. 

Another supporter of the act was the U.S. Chamber of Commerce, which reported that 40% of the nation's economic growth, more than $5 trillion, comes from intellectual property.  This includes music, movies, pharmaceuticals, fashion, and software, which together represent more than half of U.S. exports. 

Particularly in light of the current economic crisis, Congress and the President seemed eager to protect such a large portion of the economy.

Neither side got everything they asked for, however, both were relatively successful in reaching a compromise. 

Continue reading "Will the PRO-IP Act Prove to be PRO-blematic?" »

February 06, 2009

Fair Use: Judge Protects Rights on YouTube

by Shana Dines

As many YouTube enthusiasts know, takedown notices have become a standard operating procedure for many creative, young internet-video clip-makers.  The most common and successful defense to these notices is a claim of fair use.

Recent litigation initiated by the Electronic Frontier Foundation, in support of Stephanie Lenz, has caused the courts to push back on the recording industry's aggressive tactics of what the EFF calls bad faith takedowns.

The video in question is Ms. Lenz's 29-second clip of her 18-month old son dancing with Prince's "Let's Go Crazy" playing in the background, which the EFF called "self-evident non-infringing fair use."

The US District Judge who heard the case insisted that the copyright owner must consider the fair use doctrine as part of its initial review, before sending out takedown notices.

Continue reading "Fair Use: Judge Protects Rights on YouTube" »

November 21, 2008

Podcast: Can I Post Music on a Website?

Today's podcast answers a question from Stacie.  Stacie asked, I'm a web developer and a client of mine would like to use an artist's song on their website.  What is the law regarding this? 

If you have a question you'd like Tony to answer on the M.E.L.O.N. podcast, please send it to melon@beat-law.com

Continue reading "Podcast: Can I Post Music on a Website?" »

October 31, 2008

UPDATE - Events: Music Business Seminar

California Lawyers for the Arts is holding its annual Music Business Seminar on Saturday, November 15, 2008, from 9am - 5:30pm.

-- UPDATE --

BEAT-Law's Tony Berman will be the co-keynote speaker, along with lawyer and agent Elliot Cahn, former guitarist from Sha-Na-Na. Tony will be speaking about new opportunities for making money in the changing music industry.

BEAT-Law's Mark Pearson will be participating in the panel discussion, "The Online Connection," where he will talk about social networking, viral marketing, and internet resources. This will include the topics of licensing issues, iTunes, blogging, Facebook, MySpace, YouTube, and more.

Other panels will held on "The New Recording Industry," "It's All About the Money," and "The Producer Panel."

The seminar is designed for musicians, songwriters, producers, dj's, attorneys and related professionals.  It will be held at the  Ex'pression College for Digital Arts, located at 6601 Shellmound Street in Emeryville, CA.

For information on registration, check their website.

Hope to see you there!

October 24, 2008

Tech News: The More Things Change, Royalties Still Remain the Same

by Shana Dines

The debate over royalty rates for online music continues, but digital music is safe … for now.

Last week, the Copyright Royalty Board (CRB) established, for the first time, an industry-wide royalty rate for digital downloads of songs. 

They made the decision by not doing anything. 

The rate Apple had established, 9.1 cents per song, which is typically sold for 99 cents, is now frozen for the next 5 years. 

This royalty decision is considered to be a victory for Apple, who threatened the CRB to shut down iTunes Music Store if the rate increased, according to Fortune Magazine.  This was not meant as a negotiating ploy, but a fact of the matter that Apple, already operating on a minimal profit margin, simply could not afford a steep hike in royalty rates.

Continue reading "Tech News: The More Things Change, Royalties Still Remain the Same" »

October 14, 2008

Podcast: Why Should a Band Become a Business?

Today's podcast answers a question from Adam in Berkeley.  Adam asked, Why should a band incorporate and become a business?  Which type of business entity is best for a band?  Is it easy to manage one's own band? 

If you have a question you'd like Tony to answer on the M.E.L.O.N. podcast, please send it to melon@beat-law.com

Continue reading "Podcast: Why Should a Band Become a Business?" »

October 03, 2008

Tech News: Veoh Sails into "Safe Harbor"

by Shana Dines

In a previous article, we explained the Digital Millennium Copyright Act's "notice and takedown" and "safe harbor" provisions that were meant to insulate certain internet services from copyright infringement committed by their users. 

Viacom sued YouTube in early 2007, alleging that at least 150,000 clips on YouTube included content owned by Viacom that had been viewed at least 1.5 billion times, in total.  Viacom further condemned YouTube for profiting from a "massive copyright infringement."

Veoh, another online video site that offers a combination of licensed studio content and user-generated content, has also come under fire for hosting user-generated videos containing copyright infringements.  While Universal Music Group (UMG) has a case against Veoh still pending, Veoh recently won another case against them based on the safe harbor provision.

Continue reading "Tech News: Veoh Sails into "Safe Harbor"" »

September 26, 2008

(c):Defendant Destroyed Evidence, RIAA Wins

by Shana Dines

In a previous article about the lawsuit against Jammie Thomas, we discussed the arguments on either side of the "make available" theory of copyright infringement.  Just this week, Judge Davis granted the pending motion for a new trial.  The jury award of $222,000 in the Thomas case was considered the pride of the Recording Industry Association of America (RIAA). 

While this decision strikes a definitive blow to the RIAA's campaign to sue illegal file-traders for copyright infringement, there are still plenty of other cases pending on similar issues.  In another case that seemed to be leaning towards the defendants, the RIAA ultimately achieved a small victory earlier this month. 

The latest victims are the Howells, a husband and wife from Phoenix, AZ who decided to proceed in court without an attorney.  They had been faring relatively well for the past year, successfully blocking two summary judgments, however, the decision was ultimately ill-conceived. 

The Howells are now faced with a fine of $40,850 for destroying evidence that was critical to the case against them. 

Continue reading "(c):Defendant Destroyed Evidence, RIAA Wins" »

September 17, 2008

iTunes is getting iTaxed in Many States

by Shana Dines

The economy is in a recession.  Gas prices are up.  Mortgages are foreclosing.  But digital music sales are on the rise, with iTunes reportedly selling over 5 billion songs, to date. 

Not surprisingly, politicians have begun viewing the billion-dollar industry as a potential revenue generator for the government through taxation. 

Many states, including California, have tax laws that unintentionally protect digital downloads from taxing because of language written well before the internet was even envisioned.  However, a growing number of states have started (or will soon start) taxing digital music downloads, either through reinterpretation of existing tax laws or by passing new laws.

Continue reading "iTunes is getting iTaxed in Many States" »

September 05, 2008

Introdcuing: The M.E.L.O.N. Podcast!

In the interest of better serving our loyal readers, the M.E.L.O.N. Blog Team is excited to introduce the New M.E.L.O.N. Podcast!

Tony Berman, Esq. is here to answer all of your questions about multimedia and entertainment law.

Today's podcast answers a question from Will in Los Angeles.  Will asked why he should bother copyrighting his original songs and artwork.  Tony will also explain what someone should do if they find out their copyright is being infringed, how to go about registering a copyright, and what damages one can expect to recover if his copyright is infringed.

If you have a question you'd like Tony to answer on the M.E.L.O.N. podcast, please send it to melon@beat-law.com

Continue reading "Introdcuing: The M.E.L.O.N. Podcast!" »

August 12, 2008

Truth or Consequences: New Law Protects Performers and Public from Impostors

by Tony Berman

researched & edited by Shana Dines

While I was in Las Vegas the past couple of days, I checked out the listings of entertainment at the casinos.  There were obvious “tribute” shows such as “The Rat Pack is Back,” “Barbra and Frank: The Concert That Never Was,” and “Four Lads From Liverpool.”

Then there were some performers that made me wonder - “The Platters,” “Cornell Gunter's Coasters,” and “The Marvelettes.” 

I thought, “Didn’t Cornell Gunter die in the '90s in Las Vegas after being shot?” Who were these Coasters then?

And what about these Marvelettes?  I knew that for many years, none of the original members were able to tour under the name "The Marvelettes" in the United States due to a decision by Motown Records to sell their name to a promoter who had much younger girls on both coasts appearing as "The Marvelettes." 

"Did original Marvelette Gladys Horton regain control of the name?" I wondered.

And how many of the original Platters would be at this gig?  Certainly not Zola Taylor, who I knew had died last year.

Impersonators and tribute bands have long been a popular, inexpensive alternative to seeing the real musical groups, especially those who have passed away.  However, when a group falsely claims to include an original member and bills themselves as the real thing, they cross the line and become impostors.

Continue reading "Truth or Consequences: New Law Protects Performers and Public from Impostors" »

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