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Federal Register / Vol. 75, No. 212 / Wednesday, November 3, 2010 / Notices
1
See generally Rob Bamberger and Sam
Brylawski, National Recording Preservation Board,
The State of Recorded Sound Preservation in the
United States: A National Legacy At Risk in the
Digital Age (2010).
2
Tim Brooks, National Recording Preservation
Board, Survey of Reissues of U.S. Recordings 7
(2005). For more recent years in that period, the
percentage of recordings that were available
reached 33 percent.
(Comm. Print 2009). With this notice,
the Copyright Office explains the
background to the study and seeks
public comment on whether pre-1972
sound recordings should be brought
within the Federal copyright statute.
The Office also poses a number of
questions on specific topics relevant to
the overall inquiry.
Background
Sound recordings are ‘‘works that
result from the fixation of a series of
musical, spoken, or other sounds, but
not including the sounds accompanying
a motion picture or other audiovisual
work, regardless of the nature of the
material objects, such as disks, tapes or
other phonorecords, in which they are
embodied.’’ 17 U.S.C. 101. Until 1972,
sound recordings were not among the
works of authorship protected by the
Federal copyright statute; they enjoyed
protection only under State law. In
1971, Congress passed the Sound
Recording Amendment, which provided
that sound recordings first fixed on or
after February 15, 1972, would be
eligible for protection under Federal
copyright law. Sound recordings first
fixed prior to that date (pre-1972 sound
recordings) continued to be protected
under State law.
In 1976, when Congress passed the
Copyright Revision Act, it created a
unitary system of copyright, by bringing
unpublished works (until then protected
by State law) under the Federal
copyright law, and preempting all State
laws that provided rights equivalent to
copyright. 17 U.S.C. 301(a). However, it
explicitly excluded State laws
concerning pre-1972 sound recordings
from the general preemption provision,
allowing those laws to continue in effect
until 2047. 17 U.S.C. 301(c). That date
was later extended by the Copyright
Term Extension Act (CTEA) until 2067.
Public Law 105–298, 112 Stat. 2827
(1998). On February 15, 2067, all State
law protection for pre-1972 sound
recordings will be preempted by Federal
law and will effectively cease.
Thus, there are currently two primary
regimes of protection for sound
recordings: State law protects pre-1972
recordings, and Federal copyright law
protects sound recordings of U.S. origin
first fixed on or after February 15, 1972.
Federal law also protects pre-1972
sound recordings of foreign origin that
were eligible for copyright restoration
under the Uruguay Round Agreements
Act (URAA). Public Law 103–465, 108
Stat. 4809, 4973 (1994). This legislation,
passed in 1994 in order to implement
U.S. obligations under the TRIPS
(‘‘Trade Related Aspects of Intellectual
Property’’) Agreement, ‘‘restored’’
copyright protection to certain works of
foreign origin that were in the public
domain in the United States on the
effective date, which for most works
was January 1, 1996. Because most other
countries provide a 50-year term of
protection for sound recordings,
generally only those foreign sound
recordings fixed in 1946 and after were
eligible for restoration under the URAA.
One consequence of the continued
protection under State law of pre-1972
sound recordings is that there are
virtually no sound recordings in the
public domain in the United States. Pre-
1972 sound recordings, no matter how
old, can have State law protection until
2067, so that some sound recordings
will conceivably be protected for more
than 170 years. Even pre-1972 foreign
sound recordings that were ineligible for
copyright restoration because their term
of protection had expired in their home
countries are eligible for State law
protection, at least in New York. See
Capitol Records, Inc. v. Naxos of
America, Inc., 830 N.E.2d 250 (N.Y.
2005). Those sound recordings that do
have Federal copyright protection will
not enter the public domain for many
years. For example, sound recordings
copyrighted in 1972 will not enter the
public domain until the end of 2067.
State law protection for pre-1972
sound recordings is provided by a
patchwork of criminal laws, civil
statutes and common law. Almost all
States have criminal laws that prohibit
duplication and sale of recordings done
knowingly and willfully with the intent
to sell or profit commercially from the
copies. Most States also have some form
of civil protection, sometimes under the
rubric of ‘‘common law copyright,’’
sometimes under ‘‘misappropriation’’ or
‘‘unfair competition,’’ and sometimes
under ‘‘right of publicity.’’ Occasionally
these forms of protection are referred to
collectively as ‘‘common law copyright’’
or ‘‘common law protection,’’ but in fact
not all civil protection for sound
recordings is common law—some States
have statutes that relate to unauthorized
use of pre-1972 sound recordings—and
a true ‘‘common law copyright’’ claim
differs from a claim grounded in unfair
competition or right of publicity. In
Capitol Records, Inc. v. Naxos of
America, Inc., the New York Court of
Appeals (the highest court of the State)
explained that a common law copyright
claim in New York ‘‘consists of two
elements: (1) The existence of a valid
copyright; and (2) unauthorized
reproduction of the work protected by
copyright.’’ Id. at 563. It went on to state
that ‘‘[c]opyright law is distinguishable
from unfair competition, which in
addition to unauthorized copying and
distribution requires competition in the
marketplace or similar actions designed
for commercial benefit.’’ Id.
The scope of civil protection varies
from State to State, and even within a
State there is often uncertainty because
there are few court decisions that have
defined the scope of the rights and the
existence and scope of exceptions. What
is permissible in one State may not be
in another. This uncertainty is
compounded by the unsettled state of
the law concerning the activities that
subject an entity to a State’s jurisdiction.
In general, Federal law is better
defined, both as to the rights and the
exceptions, and more consistent than
State law. In some respects Federal law
provides stronger protection. For
example, owners of copyrighted works
who timely register are eligible for
statutory damages and attorneys fees. 17
U.S.C. 412, 504, and 505. In addition,
copyright-protected sound recordings
are eligible for protection under 17
U.S.C. 1201, which prohibits
circumvention of technological
protection that protects access to a
copyrighted work. At the same time
Federal law provides a more consistent
and well-articulated set of exceptions.
While some States include exceptions in
their laws protecting sound recordings,
the Federal ‘‘fair use’’ and library and
archives exceptions—17 U.S.C. 107 and
108, respectively—are likely much more
robust and effective in providing safety
valves for the unauthorized but socially
valuable use of copyrighted works.
The Copyright Office Study
Faced with the uncertain patchwork
of State laws that cover pre-1972
recordings, libraries, archives and
educational institutions have voiced
serious concerns about their legal ability
to preserve pre-1972 recordings, and
provide access to them to researchers
and scholars.
1
A 2005 study concluded
that copyright owners had, on average,
made available on CD only 14 percent
of the sound recordings they control
that were released from 1890 through
1964.
2
Reissues of recordings from
before World War II are particularly
scarce. While the statistics and
conclusions from that report are now
five years old, the Copyright Office
knows of no reason to believe that the
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