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The article discusses innovations in U.S. copyright law related to digital technologies as of December 2018. Topics include the implications of the U.S. Music Modernization Act, the relation of the U.S. Digital Millennium Copyright Act (DMCA) to safe harbors, and the use of copyright misuse as an affirmative defense. Court cases addressed include Mavrix Photographs LLC v. LiveJournal Inc, Fox News Network LLC v. TVEyes Inc., and Oracle America Inc. v. Google LLC.

The article focuses on the copyright protection of sound recordings in the European Union (EU) in 2014. Topics include the rights of performers upon the release of recorded performances, the extension of copyright law to cover sound recordings, and EU Directive 2011/77/EU governing the extension of copyright law.

US copyright law provides for a digital performance right in sound recordings but does not provide for a performance right in sound recordings when broadcast over terrestrial radio. Proponents of this asymmetry posit that the difference relates to the promotional value of terrestrial radio to record labels, but this rationale has eroded in recent years. The recording industry experienced a drastic decline at the turn of the millennium, and record labels have attempted many creative approaches to bridging the profit gap. Major labels and radio conglomerates of late have begun negotiating private contracts that effectively extend the benefits of a performance right to sound recordings broadcast over terrestrial radio. This Note argues that Congress should allow these private parties to continue experimenting with these agreements. As it stands, the government's regulation of digital performance of sound recordings is creating negative consequences, and Congress should only intervene in the terrestrial radio arena if a holdout problem arises. [ABSTRACT FROM AUTHOR]

The article discusses the relationship between popular music and politics in America as of 2013, focusing on an analysis of whether a political campaign's unauthorized use of a song infringes upon the rights of the musical performer in question. American trademark laws and the legal rights associated with songs and sound recordings are mentioned, along with trademark infringement claims. The U.S. Lanham Act, American copyright laws, and songs such as "Wavin' Flag" by K'naan are examined.

The article discusses the European Union (EU) Council of Ministers' approval of a Sound Recordings Extension Directive (SRED) on September 12, 2011, as well as information on the protection of copyrights held by musicians. The impact of the SRED on performing artists is also addressed, along with an analysis of the U.S. Supreme Court case Eldred v. Ashcroft. The author argues that there is a monopoly right over sound recordings in the EU.

When Congress overhauled the Copyright Act in 1976, it created the device of termination of transfers to protect authors of copyrighted works from unremunerative transfers. The scheme seemed straightforward, but technology has created problems the Act's drafters never could have anticipated. In particular, the application of termination of transfers to sound recordings in 1976 was little more than a shadow of uncertainty not worth dealing with at the time. But that shadow has become a creeping darkness, and no one seems sure how to clear it. Now the darkness is here. Next year, artists like Bruce Springsteen and Bob Dylan will attempt for the first time to recover the rights in their recordings, and record labels will not give up without a fight. Who will win is unclear under the statute, and Congress seems unlikely to clarify the matter-but the darkness need not remain. The question whether musical artists can terminate their transfers is really a question about who, between the artists and labels, the law should vest with an entitlement in the future interest in the copyright. Accordingly, this Note turns to entitlements theory to examine how termination alters the parties~ bargaining positions in ways that implicate efficiency and copyright's normative goals. In so doing, it shines new light on the problem and shows courts and legislators a path through the darkness. [ABSTRACT FROM AUTHOR]

The article discusses the contemporary copyright law of mix tape. It talks about the history and progression of copyright law in conjunction with the development of audio home-recording technologies and the sharing of music. It explores the breadth and depth of the Audio Home Recording Act (AHRA), including its application and inapplication to modern technologies. Also discussed is the need for copyright law to address modern music sharing in practical ways.

Constantly expanding copyright laws in the U.S. have made it increasingly difficult for archives to preserve our past effectively, and for the public to legally access it. This is especially true in the field of historical sound recordings. Most people are surprised to learn that for recordings made prior to 1972 there is no public domain, no fair use, and very few exceptions for preservation. This article looks at current guidelines for the use of copyrighted historical recordings; some important recent developments in the effort to change this situation; and what scholars and institutions can do now to help lessen the restrictions. Particular attention is given to the efforts of the Association for Recorded Sound Col - lections (ARSC), which is seeking five specific changes in U.S. copyright law to benefit preservation and public access to historical recordings. [ABSTRACT FROM AUTHOR]

In a paradox that escapes most of the public and many law practitioners, pre- 1972 sound recordings are not eligible for federal copyright protection; rather, these sound recordings are protected by state law. While the protection afforded by federal copyright law is relatively clear, determining the scope of protection afforded by state law is a difficult, uncertain, and frequently fruitless endeavor. The legal distinction between pre-1972 and post-1972 sound recordings results in a patchwork scheme wherein the availability and strength of protection varies significantly from state to state. The inherent complications are magnified and exponentially compounded when sound recordings are digitally reproduced, distributed and used. This Note reviews the history of protection afforded to pre-1972 sound recordings, and advocates for the adoption of a uniform national protection scheme and an amendment to the Federal Copyright Act. [ABSTRACT FROM AUTHOR]

The article examines the law relating to version recording rights in the light of the contemporary trends in the music industry in India. A brief overview of the concept of copyright is provided. It also discusses the concept of adaptation in musical work which forms the basis for the concept of version recording. The article also deals with the origin of version recording rights in Indian law, under the Copyright Act.

Discusses the United States Constitution, article 1, section 8,"The Congress shall have the power 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," in connection with Brian Burton's case on his sound recording "The Grey Album." Violation of the copyright law during the distribution of the album; Increase of revenues from royalty payments; Assessment of the exclusive right of the owner of copyright in a sound recording.