[1] U.S. Const. art. I, §8, cl 8.
[2] See Shubha Ghosh, The Morphing of Property Rules and Liability Rules: An Intellectual Property Optimist
Examines Article 9 and Bankruptcy, 8 Fordham Intell. Prop. Media & Ent. L.J. 99, 101 (1997).
[3] 17 U.S.C. §§ 101-1101 (1994).
[4] U.C.C. § 9-101 – 9-709 (Am. Law Inst. & Unif. Law Comm’n 1995); See also Pauline Stevens, The Intersection
of Film Finance and Revised Article 9: A Mystery, 9 UCLA Ent. L. Rev. 211, 214 (2002) (the Uniform Commercial
Code ("U.C.C.") has been adopted in every state).
[5] See e.g., Gabriella Landman, Banned Music: 21 Artists Censors Tried to Silence, BILLBOARD (Aug. 17, 2012),
https://www.billboard.com/articles/list/513610/banned-music-21-artists-censors-tried-to-silence; See, Shiela Rule,
Ice-T and Warner Are Parting Company, N.Y. TIMES, Jan. 29, 1993, at A1; Genghis Cohen, Sara Bareilles: The
Sweet Author of Tough Songs, CBS NEWS (Jan. 5, 2014, 9:33 AM), https://www.cbsnews.com/news/sara-bareillesthe-sweet-author-of-tough-songs/.
[6] Emily Tribulski, Look What You Made Her Do: How Swift, Streaming, and Social Media Can Increase Artists'
Bargaining Power, 19 Duke L. & Tech. Rev. 91, 107 (May 12 2021);
[7] Brian Day, In Defense of Copyright: Record Labels, Creativity, and the Future of Music, 21 Seton Hall J. Sports
& Ent. L. 61, 62 (2011); Catherine L. Fisk, Working Knowledge: Trade Secrets, Restrictive Covenants in
Employment, and the Rise of Corporate Intellectual Property, 1800-1920, 52 Hastings L.J. 441, 442-43 (2001)
(discussing the historical development and legal underpinnings of corporate ownership of intellectual property).
[8] Marshall Brain, How Recording Contracts Work, HOWSTUFFWORKS (May 22, 2003),
https://entertainment.howstuffworks.com/recording-contract2.htm.; Emily Tribulski, Look What You Made Her Do:
How Swift, Streaming, and Social Media Can Increase Artists' Bargaining Power, 19 Duke L. & Tech. Rev. 91, 99
(May 12 2021)
[9] Donald S. Passman, All You Need To Know About The Music Business 103 (10th ed. 2019); Emily Tribulski,
Look What You Made Her Do: How Swift, Streaming, and Social Media Can Increase Artists' Bargaining Power, 19
Duke L. & Tech. Rev. 91, 107 (May 12, 2021).
[10] See M. William Krasilovsky et al., This Business of Music 277-90 (10th ed. 2007) (discussing record labels
analysis and identification of consumer preferences and markets); See Day, supra note 7 at 62.
[11] Int'l Fed'n of the Phonographic Indus., Investing in Music 6 (2010),
https://web.archive.org/web/20100705035532/http://www.ifpi.org/content/library/investing_in_music.pdf.
[12] See Testimony of David Hughes, Adjustment of Rates & Terms for Preexisting Subscription Servs. & Satellite
Digital Audio Radio Servs., No. 2006-1 CRB DSTRA, 37 C.F.R pt. 382 (Copyright Royalty Bd. Oct. 2006),
available at http://www.loc.gov/crb/proceedings/2006-1/soundex-hughes.pdf.
[13] Paul Resnikoff, Major Labels: We Spend up to $1.4 Million Developing a New Artist, Digital Music News
(November 13, 2012), https://www.digitalmusicnews.com/2012/11/13/major/.
Int'l Fed'n of the Phonographic Indus., Investing in Music at 25 (2010),
https://web.archive.org/web/20100705035532/http://www.ifpi.org/content/library/investing_in_music.pdf (it is
estimated to cost over $1.5 Million to promote a new pop act).
[14] Elizabeth Vulaj, Esq August 28, 2020 Singing a different tune: Taylor Swift & other artists' fight for music
ownership, 2020 WL 5084965
[15] Joseph Dimont, Royalty Inequity: Why Music Streaming Services Should Switch to A Per-Subscriber Model, 69
Hastings L.J. 675, 686 (2018)
[16] Lisa M. Fairfax, When You Wish Upon A Star: Explaining the Cautious Growth of Royalty-Backed
Securitization, 1999 Colum. Bus. L. Rev. 441, 452, 459 (1999) (David Bowie raised $55 million through a private
bond placement secured by his future royalty payments from the sale and use of more than 250 songs, at a 7.9%
interest rate and maturity of 15 years. The bonds were guaranteed by David Bowie's record distributor, and
facilitated the transaction through creating a special purpose vehicle that he assigned all of his royalty payments to).
[17] Id. at 452.
[18] Nicole Chu, Bowie Bonds: A Key to Unlocking, the Wealth of Intellectual Property, 21 Hastings Commun. &
Ent L.J. 469, 488-491 (1999).
[19] Id.
[20] See e.g., Helienne Lindvall, Behind the Music: The Real Reason Why the Major Labels Love Spotify,
GUARDIAN (Aug. 17, 2009), https://www.theguardian.com/music/musicblog/2009/aug/17/major-labels-spotify
[https://perma.cc/H9NJ-2D5B] (discussing how record labels profit off of streaming); Bryan Lesser, Record Labels
Shot the Artists, but They Did Not Share the Equity, 16 Geo. J.L. & Pub. Poly 289, 299 (2018) (discussing how
record labels have displaced artist rights to royalties through streaming); How Record Labels Invest,
INTERNATIONAL FEDERATION OF THE PHONOGRAPHIC INDUSTRY, http://www.ifpi.org/how-record-
labels-invest.php [https://perma.cc/LF6Z-PM4Y] (highlighting how record labels have invested to maximize their
returns at the detriment of artists).
[21] Shu-Yi Oei & Diane Ring, Human Equity? Regulating the New Income Share Agreements, 68 Vand. L. Rev.
681 (2015).
[22] Id. at 681-82
[23] West's Ann.Cal.Com.Code §§ 9104(a), 9302(3). In re Peregrine Ent., Ltd., 116 B.R. 194 (C.D. Cal. 1990).
[24] Hypothecation, Black's Law Dictionary (11th ed. 2019).
[25] See U.C.C. §§ 9-203, 9-204, 9-205.
[26] Id.
[27] Id.; See PERFECTION, Black's Law Dictionary (11th ed. 2019).
[28] U.S. Const. art. I, §8, cl 8.
[29] 17 U.S.C. § 106.
[30] 17 U.S.C. § 102(a); Davis v. Blige, 505 F.3d 90, 98 (2d Cir. 2007) "copyright ownership is a 'bundle of discrete
rights' regarding the owner's ability to use his property [...] Owners may […] assign the rights to others."; 17 U.S.C.
§ 201(d).
[31] 17 U.S.C. § 201(a); 17 U.S.C. § 408(a).
[32] 17 U.S.C. § 101.
[33] Davis v. Blige, 505 F.3d 90, 98 (2d Cir. 2007) Davis v. Blige, 505 F.3d 90, 98 (2d Cir. 2007) (copyright
ownership is treated like any other personal propert, given a bundle of rights and capable of mortgage and
assignment).17 U.S.C. § 201(d).
[34] See 17 U.S.C. § 204(a); see, also, Corbello v. DeVito, 777 F.3d 1058, 1062 (9th Cir. 2015); Barefoot Architect,
Inc. v. Bunge, 632 F.3d 822, 827 (3d Cir. 2011).
[35] Id. at § 201(d)(2). See generally, Valle-Vega v. Los Magnifikos, Inc., CV 20-1303 (DRD), 2021 WL 5750597,
at *5 (D.P.R. July 1, 2021)
[36] Id. at § 205(d); US Copyright Office, Circular 12, Recordation of Transfers and Other Documents; (17 U.S.C. §
205.).
[37] See In re World Auxiliary Power Co., 303 F.3d 1120, 1131-1132 (9th Cir. 2002); accord.In re Peregrine
Entm't, Ltd., 116 B.R. 194, 203-204 (C.D. Cal. 1990)
[38] World Auxiliary, 303 F.3d at 1132).