Recorded music in a world driven by social media
| Autor | Sheila M. Cruz-Rodríguez |
| Cargo | 3L, JD/MBA Joint Degree Program, University of Puerto Rico School of Law |
| Páginas | 50-67 |
RECORDED MUSIC IN A WORLD DRIVEN BY SOCIAL MEDIA
SHEILA M. CRUZ-RODRÍGUEZ *
I. Introduction ...............................................................................................................................51
II. Threats to Copyright in the World of Digital Content ....................................................51
A. Copyright Infringement .....................................................................................................51
III. Copyright Protection ......................................................................................................... 52
A. YouTube Content I.D. ....................................................................................................... 52
B. Digital Millennium Copyright Act ................................................................................. 53
C. Safe Harbor .......................................................................................................................... 54
D. Takedown Procedures ....................................................................................................... 54
E. Recent Legislation .............................................................................................................. 56
IV. Relevant Case Law ............................................................................................................. 57
A. Lenz v. Universal Music Group ............................................................................................... 57
1. Facts leading to the controversy .................................................................................. 57
2. Issues in controversy ...................................................................................................... 58
3. Legal Reasoning ............................................................................................................... 58
4. Holding .............................................................................................................................. 58
5. Disposition ........................................................................................................................ 59
B. Viacom International v. YouTube ........................................................................................... 59
1. Facts leading to the controversy .................................................................................. 59
2. Issues in controversy ...................................................................................................... 59
3. Legal Reasoning ............................................................................................................... 59
4. Holding .............................................................................................................................. 60
5. Disposition ........................................................................................................................ 60
V. Competing Interests ................................................................................................................ 60
VI. Conclusion ........................................................................................................................... 62
VII. Appendix .............................................................................................................................. 63
A. Figure 1: YouTube Unavailable Content Image ........................................................... 63
* 3L, JD/MBA Joint Degree Program, University of Puer to Rico School of Law; Teaching Assistant,
Prof. V. Quiñones; Research Assistant, Centro de Investigaciones Comerciales e Iniciativas Académicas
(CICIA); Research Assistant, Prof. J. Navarro; research focus: marketing of the arts and
technological products; B.S.B.A., Magna Cum Laude, University of Puerto Rico- Mayagüez
No. 1
Recorded Music in a World Driven by Social Media
51
B. Figure 2: YouTube Analytics ............................................................................................ 64
C. Figure 3-A: Websites who joined the SOPA/PIPA protest-Wikipedia ................. 65
D. Figure 3-B: Websites who joined the SOPA/PIPA protest-Wired Magazine ...... 66
E. Figure 4: URLs requested to be removed from Google search per week ............... 66
F. Figure 5: Top Reporting Organizations ........................................................................ 67
I. INTRODUCTION
“By March of 2010, there were 200 million blogs worldwide, 450 million
people on Facebook, 27 million tweets every 24 hours, and 1.2 billion YouTube
views each day. Social Media . . . is beginning to morph . . . into a dynamic and
interactive way of doing business and practicing law.”
1
Social Media has become
an integral part of our daily lives; “it encompasses a wide range of online, word-
of-mouth forums including blogs, company sponsor discussion boards and chat
rooms, consumer to consumer email, consumer product or service rating websites
and forums, moblogs (sites containing digital audio, images, movies[,] or
photographs)[,] and social networking sites . . . .”
2
The increased speed in communications and the proliferation of platforms
for User Generated Content (U.G.C.) have become a threat to copyright
protection. “Popularity of online sharing websites [has] grown enormously over
the past year[s], with the most famous of these YouTube now ranked as the 4th
most popular website on the [I]nternet with over 100 million videos viewed every
day.”
3
II. THREATS TO COPYRIGHT IN THE WORLD OF DIGITAL CONTENT
A. Copyright Infringement
As stated before, increased speed in communications and the proliferation
of platforms for UGC have become a threat to copyright protection. This threat is
known as Copyright Infringement. It “occur[s] when a person who is not the
copyright owner, without license or authorization, exercises the owner’s
exclusive rights[,] . . . thus uploading a video of [a] musical piece to YouTube
would be infringing the copyright owner’s exclusive right to copy and
communicate his work to the public.”
4
As implied, the owner of a copyright has
1
Randy L. Drye r, Advising Your Clients (and You!) in the New World of Social Media: What Every Lawyer
Should Know About Twitter, Facebook, YouTube, & Wikis, 23 UTAH B.J. 16, 16 (2010).
2
Glynn Mangold & David J. Faulds, Social media: The new hybrid element of the promotion mix, 52 BUS.
HORIZONS 358, 358 (2009).
3
Damien O’Brien & Brian Fitzgerald, Digital Copyright Law in a YouTube World, 9 INTERNET L.
BULLETIN 71, 71 (2006).
4
Id. at 72.
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