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The Myth of The Poor Man’s Copyright

One of the common myths in the music industry among struggling musicians without two nickels to rub together is that a copyright can be established by mailing a copy of the sheet music or a recording to oneself. The crux is that the United States Postal Service effectively notarizes and dates the envelope. The myth further suggests that when the envelope is received by the musician, it can be placed in safekeeping to establish the date of an original work of authorship.

Unfortunately, this is not really how copyright works. Article I, Section 8 of the United States Constitution empowers the United States Congress to promote the progress of science and the useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries. This clause is often referred to as the copyright and patent clause. Here, science refers to artistic endeavors and useful arts refers to endeavors of utility covered by patent law.

Congress laid down the backbone of Copyright Law in the seventeenth chapter of the United States Service Code (“17 U.S.C.” ). Specifically, 17 U.S.C. § 102 defines the subject matter of copyright:

(a) Copyright protection subsists, in accordance with this title, in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. Works of authorship include the following categories:

(1) literary works;
(2) musical works, including any accompanying words;
(3) dramatic works, including any accompanying music;
(4) pantomimes and choreographic works;
(5) pictorial, graphic, and sculptural works;
(6) motion pictures and other audiovisual works;
(7) sound recordings; and
(8) architectural works.

Quick Shot: So, a copyright comes into existence for an artistic work when three criteria are met:

(1) It is ORIGINAL;
(2) It is a WORK OF AUTHORSHIP; and
(3) It is FIXED IN A TANGIBLE MEDIUM OF EXPRESSION.

*we’ll dig into these three areas more in depth in later posts

TAKE HOME:
A copyright arises the very moment in time when a original work of authorship is fixed in a tangible medium of expression–like when an original song is laid down on disk in Garage Band. No publication, registration or other action in the Copyright Office is required to secure a copyright.

So, why then register a work? Copyright registration before the United States Library of Congress serves to put the public on notice that authorship is being claimed and it has several advantages:

  • Registration establishes a public record of the copyright claim
  • Before an infringement suit may be filed, registration is necessary for works of U.S. origin
  • If made before or within five years of publication, registration will establish prima facie evidence in court of the validity of the copyright and the facts stated in the certificate
  • If registration is made within three months after publication of the work or prior to an infringement of the work, statutory damages and attorney’s fees will be available to the copyright owner in court actions. Otherwise, only an award of actual damages is available to the copyright owner
  • Registration allows the owner of the copyright to record registration with the U.S. Customs Service for protection against importation of infringing copies
*prima facie denotes evidence sufficient to prove a particular proposition or fact unless rebutted.

Although a “Poor Man’s Copyright” sounds reasonable, it is really just an evidentiary measure that might possibly be used to prove that a work was created within a certain time period. However, this is still a stretch because one could forge this type of evidence with little effort. So, registration is really the way to go–and it may be made anytime within the life of the copyright.

Effective August 1, 2009, online registration of a basic claim in an original work of authorship by electronic filing is $35.00. Beg, borrow or busk on the streets and register.

*Disclaimer: The information you obtain at this site is not, nor is it intended to be, legal advice. You should consult an attorney for individual advice regarding your own situation.

Quick Shot Case Study#1: SXSW 2010 Music and Law Section

SXSW had some excellent Continuing Legal Education topics during the last few days of the festival in March of 2010. One of the topics included information about artists trying to break into the industry and the effort that it takes in time and money.

In the present state of the music industry, success is where an artist finds it.  The affordability and advancements made in recording technology have taken million dollar studios that were only available to big label artists of the past and placed them firmly in the hands of musicians. What used to be three to five thousand dollar demos in Nashville are now cranked out on Garage Band or Boss portable recording units. As quick shot case study, just take a moment and look at Owl City.

Ken Abdo (whose law firm was generous enough to sponsor the CLE section) spoke briefly about Owl City. Adam Young is the 24 year old musician behind Owl City–he started the project out of the basement of his parents house in Owatonna, Minnesota. Like the lyrics in Owl City’s music point out, insomnia can be a very effective way to get more hours out of the day and record late into the night.

Young utilized (the now shunned) MySpace to generate interest in his music. After two independent albums, his 2009 major label “Ocean Eyes” release blew up with the track “Fireflies.” But take note, the album was released in digital format on iTunes before a physical release. A very nice strategic move–Owl City’s “Fireflies” had the distinction of being the most downloaded song iTunes in the U.S.

Quick Shot Take Away: Owatana, Minnesota is not Hollywood, Nashville, NYC, Chicago or Austin. Creativity and sweat-equity matter. Don’t think that you have to be in a major city as an artist to “make it.” Don’t get stuck with a garage full of physical product worth $1000.00 (roughly the price of a MacBook with Garage Band). Test the waters with a digital distribution. Then, see if it makes sense to release physical CD’s.

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