I thought the definition of "joint" was clear to musicians.
When does one’s contribution to a creative work rise to the level of authorship?
In Janky v. Lake County Convention and Visitors Bureau, Nos. 07-2350, 07-2762, and 08-1606 (August 3, 2009), the US Court of Appeals for the Seventh Circuit answered that question. The Bureau was looking for someone to write a song for their promotional campaign. Band-member Farag learned of the search, and so Band-member Janky wrote a song, Wonders of Indiana, and copyrighted it in her own name. Farag and the Bureau liked the song but felt its lyrics needed to be focused less on Indiana generally and more on Lake County in particular. Farag’s contributions represented 10% of the lyrical content of the revised song (although Farag claimed he changed the melody as well), which was then copyrighted again by Janky, this time with Farag listed as a “co-author,” and the work identified as a “joint work.” The Bureau was issued a non-exclusive license to the song, a copy of a music video for use in the promotion, and a live performance by the band at the opening of a new visitors’ center.
After some unspecified fall-out, Janky re-registered the copyright, intending to correct the “mistake” she made on the previous form by removing Farag as an owner. Janky then informed the Bureau that their license to the song was invalid, and they no longer had permission to use it. The Bureau continued to use the video and song until the law suit was filed in which Janky alleged the Bureau’s continued use of the video and song was copyright infringement.
The US District Court for the Northern District of Indiana granted summary judgment to Janky (that is, ruled for Janky without a trial because of the legal strength of her case), but the Seventh Circuit reversed that decision, granting summary judgment for the Bureau. The Seventh Circuit pointed out that, under 17 U.S.C. § 201(a), co-authors to a “joint work” have an undivided interest in the work regardless of how much each artist contributed. In other words, even if Farag contributed only 10% of the work, Farag would have the same rights to the song as Janky, which includes the right to license the song to the Bureau. So, if Farag were a co-author and gave the Bureau permission to use the song, Janky’s permission wouldn’t have been needed, and there could be no copyright infringement.
This brought the Seventh Circuit to the central issue in the case: Is Farag a co-author? In 17 U.S.C. § 101, the Copyright Act defines work as a “joint work” if (1) there is an intent to create a joint work at the time of registration, and (2) each author contributed material that by itself would be copyrightable. The intent was obviously present because in the second application Janky credited Farag as a coauthor and characterized the song as a “joint work.”
As for whether the contributions of Farag were independently copyrightable, the Seventh Circuit noted that mere “ideas, refinements, and suggestions” did not qualify as independently copyrightable contributions, but Farag’s contributions went much further than that.
Farag wielded considerable control over what the song finally looked like; one could say he demanded the changes. Farag’s contributions . . . were concrete expressions . . . . Farag’s changes may have accounted for only 10 percent of the lyrics, they were significant. They were important not only to the final sound, but also to its commercial viability. . . . The very purpose of copyright law [would be] defeated if important contributions are denied copyright protection.
Judge Ripple dissented from the case. Although agreeing that Janky should not have been granted summary judgment, Judge Ripple disagreed that the Bureau should have been granted summary judgment. Rather, the case should have been sent back to the district court for a trial.