April 25, 2024

Media Decoder Blog: In Dispute Over Ray Charles Songs, Family Gains Victory in Court

A dispute between the children of Ray Charles and the foundation to which he left most of his money is the latest battleground in one of the entertainment industry’s most contentious issues: the “termination rights” that allow artists and their families to recover the copyrights to their work from third parties like record companies or publishers.

Last week a federal judge in California ruled that the Ray Charles Foundation cannot interfere with the efforts of seven of Charles’s 12 surviving children to recover the music publishing rights to about 60 of his classic songs, like “I Got a Woman,” “Hallelujah I Love Her So” and “Mary Ann.” The foundation, a nonprofit charitable organization founded by Charles in 1986, currently receives royalties on those songs.

In a further blow, the judge, Audrey B. Collins of United States District Court in Los Angeles, also ruled that the foundation must reimburse the children for their legal expenses.

The case combines the drama of a family fight over a celebrity’s legacy with a detail of United States copyright law that poses a threat to the entertainment industry. An amendment to the law that took effect in 1978 let artists recover rights to their work after 35 years; the rule also applied to works copyrighted before 1978, but after 56 years. Artists can do this by officially “terminating” the agreements that had transferred the work to other parties.

In the music industry, most of the concern about these cases has been about whether record companies and publishers would prevail over artists by claiming that their music was “work for hire” — in other words, as an employee — and thus exempt from termination claims. But the Charles case also reveals how complicated these claims can be when they involve deceased authors and their wills.

The case was triggered in 2010 when Charles’ children filed termination notices for the songs with their publisher, Warner/Chappell. Last year, the foundation — which includes former business associates of Ray Charles but no members of his family — sued the children, saying that they did not have the rights to reclaim the songs’ copyrights, and that they had also breached agreements with their father. Before Charles’s death in 2004, most of his children signed agreements saying that in exchange for $500,000, they would make no further claims on his estate after he died.

Judge Collins ruled against the foundation, saying that the law gave rights to surviving family members of a deceased artist, which cannot be superseded by any other agreement — including a will.

Valerie Ervin, the foundation’s president, said it would appeal the decision. “The very clear and unmistakable intention of both Ray Charles and all his children was that, in exchange for a substantial payment, the children were not to raise any claims against their father’s estate,” Ms. Ervin said in a statement. “The children who filed these termination notices violated the sacred promise they made. They took their father’s money and now come back for more. The law is very unsettled in these matters and we intend to seek resolution through the courts.”

The judge also approved a motion brought by the Charles family to dismiss the suit under laws against so-called Slapp suits, or strategic lawsuits against public participation, which obstruct free speech and petition. As part of that victory, the judge ruled that the foundation must pay the family’s legal fees, which will be determined later.

“The decision is important for authors/artists and their families everywhere,” Marc Toberoff, the lawyer for the Charles children, wrote in a statement. “A disturbing trend has emerged where adversely affected companies initiate frivolous legal action to chill the exercise of the Copyright Act’s inalienable termination right. By holding that termination is protected under anti-Slapp statutes, which include a mandatory award of attorneys fees, those who pursue such strategies do so at their own peril.”


Ben Sisario writes about the music industry. Follow @sisario on Twitter.

Article source: http://mediadecoder.blogs.nytimes.com/2013/01/30/in-dispute-over-ray-charles-songs-family-gains-victory-in-court/?partner=rss&emc=rss

Media Decoder: Sony Closes Its Acquisition of EMI Music Publishing

7:38 p.m. | Updated An investor group led by Sony closed its $2.2 billion acquisition of EMI Music Publishing on Friday, creating a giant force in music publishing, the unglamorous but lucrative side of the music business that deals with songwriting rights.

The deal will give Sony control over a catalog of more than two million songs, and a global market share of about 31 percent, nine points above that of Universal, its closest competitor, according to an estimate by the trade publication Music and Copyright.

Sony’s new catalog will include the 750,000 tracks — including 251 by the Beatles — that are controlled by Sony/ATV, the company’s joint venture with the estate of Michael Jackson. It will also include 1.3 million from EMI, with Motown hits, chestnuts like “Have Yourself a Merry Little Christmas” and songs by contemporary stars like Norah Jones, Kanye West and Amy Winehouse.

An Interview
Martin Bandier, Big Music Publisher Who Just Got Bigger

The deal just completed between Sony and EMI Publishing reunites Mr. Bandier, the chairman of Sony’s current publishing arm, Sony/ATV, with the EMI catalog, which he ran until 2007.

The financial structure of the deal is complex, and while Sony will administer the EMI catalog through Sony/ATV, its deal with Jackson requires that EMI Publishing remain a separate company. Sony and the Jackson estate will have a 38 percent stake. The other investors are the sovereign wealth fund Mubadala of Abu Dhabi, Jynwel Capital of Hong Kong, Blackstone’s GSO Capital Partners and the Hollywood mogul David Geffen.

The royalties and licensing fees from publishing rights are often seen as the most stable side of the music business, offsetting the more tumultuous fortunes of record companies. Sony’s music divisions, which have turned a modest profit, have also stood out in the larger corporation, whose electronics divisions have contributed to billions in losses.

“Music publishing, along with the rest of our entertainment companies, has been a bright spot in our business portfolio, and we expect that trend to continue with this important acquisition,” Kazuo Hirai, Sony’s president and chief executive, said in a statement.

Sony’s deal was one of two reached by Citigroup in November, which took possession of EMI in early 2011 after the private equity firm Terra Firma defaulted on its debt.

In the parallel sale of EMI’s recorded-music division — which includes albums by the Beatles, the Beach Boys and hundreds of other acts — the Universal Music Group bid $1.9 billion. That deal is still under review in Europe and the United States.

Sony’s catalog includes music from stars like Norah Jones.Jason Szenes/European Pressphoto AgencySony’s catalog includes music from stars like Norah Jones.

While independent groups have opposed both EMI sales, saying that they would result in too much market concentration, the publishing deal was seen as an easier sell to regulators, given Sony’s minority investment and the more fragmented nature of the publishing market.

Sony’s deal will also reunite Martin N. Bandier, the chairman of Sony/ATV, with the EMI publishing catalog, which he built over 17 years until he left the company for Sony in 2007. While Sony/ATV and EMI will be separate entities, Mr. Bandier made it clear in an interview that he intended to run them as one collection of songs.

“At end of the day we are going to be one homogeneous company with one person — myself — running it,” Mr. Bandier said.


Ben Sisario writes about the music industry. Follow @sisario on Twitter.

Article source: http://mediadecoder.blogs.nytimes.com/2012/06/29/passing-final-hurdle-sonys-deal-for-emi-publishing-is-approved-by-u-s/?partner=rss&emc=rss