And, Of Course, Labels Sue Pandora Over Pre-1972 Recordings
from the after-losing-on-trying-to-shake-them-down dept
Just a few days ago, we wrote about how the record labels were trying to have it both ways. That is, on the one hand, they are arguing in a variety of cases that the DMCA shouldn't apply to pre-1972 sound recordings, while also arguing against any attempt to treat pre-1972 sound recordings the same as if they were under federal copyright law. At the same time, they are claiming that it's somehow unfair that Sirius XM and Pandora aren't paying statutory licensing fees on those very same pre-1972 recordings.Having already sued Sirius XM over the issue last fall, the RIAA's record labels have now targeted a similar lawsuit at Pandora. The lawsuit itself is highly misleading, taking statements from Pandora totally out of context (the labels have a habit of doing this). The most obnoxious of these misrepresentations is the RIAA's claim that Pandora recently stated in SEC filings that there's a risk factor if the company is "required to obtain licenses from individual sound recording copyright owners for the reproduction and public performance of pre-1972 sound recordings."
The RIAA presents this as if it's Pandora trying to get out of paying. But that's not what Pandora is saying at all. It's noting that because pre-1972 works are not covered by the various rates that it pays which are set by the Copyright Royalty Board, in order to secure the rates, it would need to negotiate individually with every copyright holder for the right to stream those works in every single state. But it's noting that as a risk factor -- because, as Sirius has pointed out in its own response to the similar lawsuit, decades have gone by and the labels have never been asking for licenses for performances of pre-1972 works. And those works have been used for years, license free, by TV and radio broadcasters, bars, restaurants and a variety of other places. The real risk is that Pandora, which has relied on the fact that it can take compulsory rates, would then suddenly have to negotiate with everyone, which would be a massive headache. And this is the mess caused by the weird way in which pre-1972 sound recordings are treated.
Again, those works are not covered by federal copyright laws, which include specific rights over performances of works, which was something of a new concept when it was added to federal copyright law. The various state laws that these works are covered by are generally common law concepts around misappropriation and unfair competition. So the big question is whether or not "performing" a work falls under such common law concepts. Historically, these claims were mostly focused on making unauthorized copies. Performing the work has generally been considered a separate issue. This makes it a bit questionable that the RIAA is now suddenly seeking to reinterpret a big swath of history around how those works were legally used -- which also raises a concern about "laches" or how timely these lawsuits are. The RIAA has had decades to complain about these practices, and is just doing so now...
And, of course, remember that this is all happening just a month or so after the publishing arms of the very same labels were found to have been colluding unfairly to jack up Pandora's rates. Basically, the legacy recording industry players are now looking for just about any way possible to make Pandora pay even more. This isn't a surprise. It's how the industry has always worked. When they're struggling to figure out ways to make money, they look at anyone successful and assume it's their fault that the legacy players are making less money. So, rather than innovating, they try to find legal ways to force more money out of the innovators and into their own hands. This is just the latest example in a very long line of such cases.
Thank you for reading this Techdirt post. With so many things competing for everyone’s attention these days, we really appreciate you giving us your time. We work hard every day to put quality content out there for our community.
Techdirt is one of the few remaining truly independent media outlets. We do not have a giant corporation behind us, and we rely heavily on our community to support us, in an age when advertisers are increasingly uninterested in sponsoring small, independent sites — especially a site like ours that is unwilling to pull punches in its reporting and analysis.
While other websites have resorted to paywalls, registration requirements, and increasingly annoying/intrusive advertising, we have always kept Techdirt open and available to anyone. But in order to continue doing so, we need your support. We offer a variety of ways for our readers to support us, from direct donations to special subscriptions and cool merchandise — and every little bit helps. Thank you.
–The Techdirt Team
Filed Under: copyright, lawsuits, music, performance rights, pre-1972, pre-1972 sound recordings, royalties
Companies: pandora, riaa
Reader Comments
Subscribe: RSS
View by: Time | Thread
This is exactly why I have for years now refused to purchase any music supported by the RIAA and conglomerate. I don't want any part of my money going to such actions. I disapproved of their methods and none of the music I hear recently on the radio inspires me at all. The RIAA can go suck it up along with the labels and any artists that signed with them. Rats on a sinking ship deserve to go down with it.
[ link to this | view in chronology ]
I've posted no links, have no where I want anyone to be, and have nothing I want to sell. Guess I'll find a new home page for a while.
[ link to this | view in chronology ]
Re:
[ link to this | view in chronology ]
Re:
[ link to this | view in chronology ]
Re:
I had a post suddenly show up as "awaiting moderation" and it was after I'd posted criticizing what I'd thought was a bit of 'groupthink' and I worried it was in some way punitive.
But I got a very quick response indicating a word or combination of words might have set off the spam filters. And since it had been a typically wordy post, I had to concede that possibility. It was soon posted and haven't had a problem since.
Try that, they were very nice about it.
[ link to this | view in chronology ]
Pandora
Most digital music services do pay for pre-1972 recordings. Pandora has apparently stepped out on a limb.
[ link to this | view in chronology ]
Re: Pandora
Pandora is paying nothing for playing these songs... and neither is anyone else, because that's how the law works in this specific case.
[ link to this | view in chronology ]
Re: Re: Pandora
[ link to this | view in chronology ]
Re: Pandora
This is nothing but an extortionary tactic by the RIAA and the labels, and it should be treated as such, with full criminal sanctions for racketeering etc.
[ link to this | view in chronology ]
Re: Re: Pandora
[ link to this | view in chronology ]
In both cases they are saying that pre-1972 sound recordings are not covered by federal copyright law, right?
[ link to this | view in chronology ]
Re:
Federal law does apply to pre-1972 recordings, this includes paying sound exchange for pre-1972 recordings and DMCA applying to pre-1972 recordings.
Option #2:
Federal law does not apply to pre-1972 recordings, this means sound exchange does not need paid for pre-1972 recordings and the DMCA does not apply.
[ link to this | view in chronology ]
Re: Re:
I'm pretty sure that's the position that most labels have always taken.
[ link to this | view in chronology ]
Re: Re: Re:
You would be wrong. Radio stations paying to play music is a relatively new thing. The labels didn't start pushing for that until years after Internet radio and satellite radio started to get big.
There was a scandal between the record labels and radio stations a while ago. The record labels got into trouble for paying radio stations to play their music. So the exact opposite of what you were pretty sure of.
The labels took the position of "Get the music out there any way possible". I don't know why that changed.
[ link to this | view in chronology ]
Re: Re: Re: Re:
Pandora and the like could end up replacing the labels as the means of publishing recordings. This would remove the Labels Income as the sales and Licensing of the recording that they own wind down; therefore the labels have to take over or destroy such companies.
[ link to this | view in chronology ]
Re: Re: Re: Re: Re:
[ link to this | view in chronology ]
Re: Re: Re: Re:
Also, payola is neither "the exact opposite" or at all inconsistent with the claim that pre-1972 sound recordings are covered by state law.
Regardless, it is (a) not a new position that pre-1972 sound recordings are covered by state laws, and (b) not inconsistent to argue that pre-1972 sound recordings are not covered by federal copyright law.
[ link to this | view in chronology ]
Re: Re: Re: Re: Re:
"Although sound recordings were first given federal copyright protection in 1972, sound recordings made before February 15, 1972 remained protected under state law rather than under the federal copyright statute. As a result, there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear. Current law provides that pre-1972 sound recordings may remain protected under state law until February 15, 2067. After that date they will enter the public domain."
www.copyright.gov/docs/sound
So, again, I'm not sure what is inconsistent about saying pre-1972 sound recordings are not covered by federal copyright law, but they are covered by state law.
[ link to this | view in chronology ]
Re: Re: Re: Re: Re: Re:
"At the same time, they are claiming that it's somehow unfair that Sirius XM and Pandora aren't paying statutory licensing fees on those very same pre-1972 recordings. "
If they are saying that XM and Pandora should pay federal statutory licensing fees then that would be an inconsistency.
[ link to this | view in chronology ]
Re: Re: Re: Re: Re: Re: Re:
[ link to this | view in chronology ]
Re:
They are trying to get Pandora to pay the statutory rates that are settled under FEDERAL copyright laws.
This is because the various state "copyright" laws are not exactly copyright laws, but things like "unfair competition" (which usually has a "passing-off" component, like trademarks) and "unauthorized distribution" (which only covers distribution of copies).
None (that I know of) establish any sort of royalty requirements for public performances, or even cover public performances at all.
So, they are essentially saying that public performances of pre-1972 sound recordings should be treated as if they were covered under Federal copyright law, but that DMCA immunity regarding pre-1972 sound recordings should not be treated as if they were covered under Federal copyright law.
That is "trying to have it both ways."
[ link to this | view in chronology ]
Re: Re:
pre-1972 sound recordings
A "sound recording" is distinct from the underlying composition. The underlying composition has been covered by Federal copyright law, for about a century. Pandora (like terrestrial radio) is, and always has, paid royalties on the underlying composition for pre-1972 recordings.
What they have not been paying are the royalties for sound recordings. Those are the royalties which go to SoundExchange (as opposed to the composition royalties, which go to ASCAP, BMI, or SESAC).
Terrestrial radio does not, and has never, paid any royalties on the sound recordings, pre-1972 or not.
[ link to this | view in chronology ]
New York?
[ link to this | view in chronology ]
[ link to this | view in chronology ]
Re:
[ link to this | view in chronology ]
Re: Re:
A truthful article here:
http://www.digitalmusicnews.com/permalink/2014/04/18/pandora1972
[ link to this | view in chronology ]
Re: Re:
I know I'm late with this, but...
Spotify isn't eligible for the type of royalties under consideration; those royalty rates are only available to non-interactive services (like Pandora and SiriusXM).
So, they already must do direct deals with the rights holders. They're not paying "royalties" at all; they're entering into direct contract negotiation with the rights holders, and those rights holders pay whatever royalties are owed to artists.
[ link to this | view in chronology ]
[ link to this | view in chronology ]
Re:
[ link to this | view in chronology ]
Re: Re:
[ link to this | view in chronology ]
They only care about the profits
[ link to this | view in chronology ]
Re:
http://www.washingtonpost.com/politics/how-google-is-transforming-power-and-politicsgoogle-once -disdainful-of-lobbying-now-a-master-of-washington-influence/2014/04/12/51648b92-b4d3-11e3-8cb6-2840 52554d74_story.html
[ link to this | view in chronology ]
Re: Re:
Unrelated, not relevant.
[ link to this | view in chronology ]
Re: Re: Re:
[ link to this | view in chronology ]
Re: Re: Re: Re:
[ link to this | view in chronology ]
Re: Re: Re: Re:
[ link to this | view in chronology ]
Re: Re: Re: Re:
You know, no matter how many times you repeat it, it's still not true.
[ link to this | view in chronology ]
Those state laws are unconstitutional
[ link to this | view in chronology ]
Re: Those state laws are unconstitutional
[ link to this | view in chronology ]
[ link to this | view in chronology ]
Re:
[ link to this | view in chronology ]
Re:
No matter what the status on state laws, you would still have to pay composition royalties to ASCAP/BMI/SESAC. These royalties have been an established part of federal law since the invention of the player piano.
Until the Internet came around, you would not have to pay sound recording royalties for performances. The only entities in the United States that have to pay these royalties are Internet and cable streaming radio stations.
Terrestrial radio stations, bars, restaurants, live venues, etc. do not have to pay sound recording royalties, and never have. Not under federal law, and not under any state law.
[ link to this | view in chronology ]