The basic right
of music authors and producers to the fruits of their labors is secured by
copyright. The Constitution's Article I, Section 8 IP Clause gives Congress the
responsibility to ensure that the copyrights of authors and producers of
creative works are secured.
But in some respects,
existing federal law provides inadequate and unequal copyright protections in
sound recordings. And in other respects, federal law provides no copyright
protections at all for sound recordings. Newly-introduced legislation in
Congress would implement overdue copyright reforms for sound recordings. If
enacted, the legislation will better secure those rights and bring the law into
closer alignment with the Constitution.
On April 13 the
Fair Play Fair Pay Act of 2015 was introduced in Congress. Sponsored by
Rep. Jerrold Nadler and co-sponsored by Rep. Marsha Blackburn, the Fair Play
Fair Pay Act (H.R. 1733) includes a handful of provisions that would put
copyright in sound recordings on more of a free market footing. The bill's
provisions would eliminate favoritism towards certain kinds of technology
platforms. Such favoritism results in copyright holders receiving either no
royalties or royalties significantly below market value for public performances
of their sound recordings.
Included in the Fair Play Fair Pay Act - H.R. 1733 - are three important reforms for
copyright in sound recordings:
H.R. 1733 finally ends terrestrial radio
broadcasters' free-rider exemption from paying royalties for transmitting
copyrighted sound recordings. Existing
federal law specially privileges over-the-air radio broadcasting over
competitors by permitting AM/FM transmission of copyrighted sound recordings
without any need to obtain copyright holders'
consent or pay royalties. This gives broadcast radio stations an unfair
advantage over commercial music services reliant on other transmission
technologies that must obtain consent or pay royalty rates. It is also an
inequitable deprivation of rights for the owners of sound recordings. Under
H.R. 1733, radio broadcasters would have to respect performance rights in sound
recordings by negotiating with copyright holders or paying rates according to
the "willing buyer/willing" seller standard (discussed below).
H.R. 1733 ensures that cable and satellite
video services playing copyrighted sound recording pay copyright holders
royalties approximating market value. Current
federal law applies different royalty rate standards to different service
technologies. Cable and satellite video services are subject to the so-called
801(b) rate standard, which misguidedly is calculated to "minimize any
disruptive impact on the structure of the industries involved and on generally
prevailing industry practices." We have elsewhere criticized the Section
801(b) standard, which results in royalty rates set well below market value.
H.R. 1733 would end the disparate rate regime. The bill would require cable and
satellite video services transmitting copyrighted sound recordings to either
negotiate with copyright holders or pay royalties according to the
"willing buyer/willing seller" standard applicable to non-interactive
Internet-based digital music services like iHeartRadio, Pandora, and Spotify.
The "willing buyer/willing seller" standard defines "reasonable"
rates, as payments that "most clearly represent the rates and terms that
would have been negotiated in the marketplace between a willing buyer and a
willing seller." In other words, the "willing buyer/willing
seller" standard at least attempts to approximate market values in order
to secure to copyright holders the returns they deserve.
H.R. 1733 recognizes copyrights in sound
recordings made prior to 1972.
Federal law does not recognize public performance copyrights in music recordings
made before early 1972. Of course, recent judicial rulings strongly indicate
that state common law protects public performance rights in pre-72 sound
recordings. Under H.R.
1733, public performance copyrights in sound recordings would be recognized in
federal law. According to the bill, music service providers seeking to transmit
such recordings must either negotiate royalties with the copyright holders or
pay royalties according to the willing buyer/willing seller standard applicable
to music services transmitting post-72 sound recordings.
The Fair Play
Fair Pay Act includes carve-outs to keep royalty rates to an administratively
simple, nominal amount for small, local radio broadcast stations as well as for
public radio stations. A complete royalty carve-out is also provided for both religious
services and non-incidental uses. In addition, H.R. 1733 includes provisions
for recognizing industry custom for processing payouts of royalties to
copyright holders of sound recordings through an entity designated by the
Copyright Royalty Board – that is, through SoundExchange. This aspect of the
H.R. 1733 is similar to the Allocation for Music Producers Act (H.R. 1457), which was introduced in
March by sponsor Rep. Joseph Crowley and co-sponsored by Rep. Tom Rooney.
In sum, the Fair Play Fair Pay Act – H.R. 1733 – takes several steps in the right
direction for reforming copyright in sound recordings. The bill would secure
stronger and broader protections of the rights of copyright holders. It would establish
an across-the-board standard for royalty rates intended to mimic market
outcomes. Also, the bill would reduce the incidents of favoritism and
free-riding that exists under current copyright law. Certainly, Congress should
give this legislation a prompt fair hearing.