Can’t solve appropriation – copyright law will expire and exploitation will continue

Related to the derivative work problem, a new issue has emerged since the inclusion of sound recordings in the Copyright Act of 1976: sampling—”the act of taking a portion of one sound recording and reusing it as an instrument or an audio recording in a different song or piece.”66 For example, the modern genres of hip hop and rap both depend heavily on sampling for musical expression.67 Yet, sampling was quickly blocked by the courts. In Grand Upright Music, Ltd. v. Warner Brothers Records, the Southern District of New York held that Biz Markie’s rap song “Alone Again” impermissibly sampled a portion from Gilbert O’Sullivan’s “Alone Again (Naturally).”68 The Court held—devastatingly for genres like rap—that sampling without permission from the original copyright owner constituted blatant copyright infringement.69 Obtaining licenses for every sample presented a significant logistical and financial burden for rap artists.70 And unlike other parts of music copyright, there is no compulsory license for sampling (i.e., reproducing the sound recording); it is instead up to the copyright owner’s discretion whether to license the work or not, and to name the price.71 This forced rap artists to change how they create music or risk copyright sanctions.72 Indeed, the challenges posed by copyright to Black artists have led many to alter their creativity or leave music entirely.73 A third way in which U.S. copyright law has not equally protected racial minorities’ creative works is in requiring a known, recently alive author to gain copyright protection.74 Many centuries old, traditional Indigenous and non-Western songs and arts have communal or unknown creators.75 U.S. copyright law requires a known author and only protects works for a limited period of time, leaving these important but ancient works in the public domain.76 While such works remain unprotected, others can exploit traditional music and arts for their own profit without worrying about copyright infringement claims.77 This facilitates the free commercial repurposing of Indigenous cultural symbols and practices.78 U.S. copyright law defines creative arts as endeavors that are at least partially about making a profit,79 but this commercial approach is at odds with other artistic traditions. For example, Indigenous and non-Western societies around the globe value music as integral to their communities’ culture, and for non-commercial purposes such as medicine.80 The commercial appropriation of Indigenous cultural expression can be especially harmful due to the spiritual or nature of these works. 81 Thus, in these three ways, copyright law’s structure poorly serves living musical traditions.