Today’s post looks at the intersection
of new technology and our somewhat antique laws. It has recently been reported that major music labels (Sony, Universal, Warner Music, and
ABKCO) filed suit against the internet music service Pandora on April 17th,
alleging copyright infringement for essentially “playing old songs without
licenses.” What makes this case most
interesting is that these multi-national music industry conglomerates are suing
the California-based Pandora in New York State Supreme Court in Manhattan (for
those not familiar with our special court-naming preferences in NY, that’s the
regular civil trial court). Without
getting into any jurisdictional issues, I wondered why these plaintiffs would
sue in state court for what is a predominantly federal cause of
action (copyrights).
The
answer lies in a strange quirk of history, most clearly articulated by the New
York State Court of Appeals (that’s our highest court … I know, it’s
confusing), in their answer of certified questions in Capitol Records, Inc. v. Naxos of Am., Inc., 4 N.Y.3d 540, 830
N.E.2d 250 (2005). Under federal law (17U.S.C. §302) copyrights generally last for the life of the author/creator, plus
70 years. However, the U.S. Copyright
law never squarely addressed musical recordings, which remained unprotected on
the federal level until amendments were made to the Copyright Act in
1972. At the same time, most states had
a body of common law rules concerning copyright in creative works (including
musical recordings) which were often more expansive than the federal rights,
and allowed a nearly unlimited term of protection. During the drafting of the 1972 amendments to
the Copyright Act, the House and Senate reached a compromise regarding
protection of pre-1972 musical recordings: existing state common-law copyright
protection for them would not be preempted by the new federal statute until
February 15, 2067. See Capitol Records, Inc. v.
Naxos of Am., Inc., 4 N.Y.3d 540, 555-56, 830 N.E.2d 250, 260-61 (2005). Thus, “[p]ursuant to
17 U.S.C. § 301(c), ‘[f]ederal copyright law does not cover sound recordings
made prior to [February 15,] 1972. Rather, these recordings are protected by
state common law on copyright infringement.’”
Capitol Records, LLC v. Harrison
Greenwich, LLC, 652249/2012, 2014 WL 1492299 (N.Y. Sup. Ct. Apr. 14, 2014).
But
don’t federal statutes concerning something usually preclude inconsistent state
law? How can a state like New York say
that, under our common law, all music recordings are entitled to permanent,
perpetual copyright protection, when the federal law may protect the same
recording for as little as 71 years?
Shortly
after passage of the Copyright Act amendments, the U.S. Supreme Court addressed
these concerns in Goldstein v. California,
412 U.S. 546, 93 S.Ct. 2303, 37 L.Ed.2d 163 (1973). The defendant in that case
was convicted of criminal music piracy based on a California copyright law,
which he challenged on the grounds that it conflicted with the U.S.
Constitution’s “Copyright Clause, the Supremacy Clause and the federal
Copyright Act by ‘establish[ing] a state copyright of unlimited duration.’” Capitol Records, Inc. v. Naxos of Am., Inc.,
4 N.Y.3d 540, 556-57, 830 N.E.2d 250, 261 (2005) (quoting Goldstein). The majority on
the Court rejected the defendant's arguments, noting that
“[a]lthough the Copyright Clause ... recognizes the potential benefits of a national system, it does not indicate that … state legislation is, in all cases, unnecessary or precluded,” … the states did not relinquish all power to provide copyright protection … the states were free to act with regard to sound recordings precisely because Congress had not, and, in the absence of conflict between federal and state law, the Supremacy Clause was not a barrier to a state's provision of copyright protection to a work not covered under federal copyright law.
Capitol Records, Inc. v. Naxos of Am., Inc., 4 N.Y.3d 540, 556-57, 830 N.E.2d 250, 261 (2005) (quoting Goldstein). Therefore, turning back to New York, the
federal Copyright Act precludes and supercedes New York common-law protection of sound
recordings only in two respects.
First, [New York] common law does not apply to any sound recording fixed, within the meaning of the federal act, after February 15, 1972, because recordings made after that date are eligible for federal statutory copyright protection. Second, state common-law copyright protection is no longer perpetual for sound recordings not covered by the federal act (those fixed before February 15, 1972), because the federal act mandates that any state common-law rights will cease on February 15, 2067. The musical recordings … created before February 15, 1972, are therefore entitled to copyright protection under New York common law until the effective date of federal preemption—February 15, 2067.
Capitol Records, Inc. v. Naxos of Am., Inc., 4 N.Y.3d 540, 559-60, 830 N.E.2d 250, 263 (2005).
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| Goodnight, Irene |
Therefore,
if Sony and the other labels want to extract licensing fees from Pandora for
the “performance” of pre-1972 musical recordings (or prohibit altogether
Pandora’s playing them), it appears that New York’s common law of copyright
might be their best shot. I haven’t had
the opportunity to review the actual text of the complaint in this case, but my
gut says that Pandora (and those of us who enjoy online listening to
anything recorded before Houses of the
Holy) might have a problem. Under New
York’s common law, proof of copyright infringement only requires: (1) the
existence of a valid copyright; and (2) unauthorized reproduction of the work
protected by the copyright. Capitol
Records, LLC v. Harrison Greenwich, LLC, 652249/2012, 2014 WL 1492299 (N.Y.
Sup. Ct. Apr. 14, 2014). As recently
articulated by the federal Southern District of New York, “[c]ourts have
consistently held that the unauthorized duplication of digital music files over
the Internet infringes a copyright owner's exclusive right to reproduce.” Capitol
Records, LLC v. ReDigi Inc., 934 F.Supp.2d 640, 648 (SDNY 2013). Additionally, Pandora most likely won’t be
able to argue that "unpopular" older music (perhaps some obscure Leadbelly tunes?) are exempt from New York’s
protection either: “the ability to enforce copyright protections provided by
New York common law is not diminished due to the size of the market and,
therefore, the popularity of a product does not affect a state common-law
copyright infringement claim.” Capitol Records, Inc. v. Naxos of Am., Inc.,
4 N.Y.3d 540, 564, 830 N.E.2d 250, 266 (2005).
It will be interesting to see how
this case turns out. Most likely, I
foresee it resulting in an out-of-court settlement involving additional
licensing fees on Pandora for use of pre-1972 songs. But if nothing else, the filing of this suit
in New York illustrates the creativity and tenacity of the music industry in
monetizing their copyrightable works – via any available legal means.
