How Michael Jackson"s Heirs Stand to Cash in And How You Can, Too
If you've noticed you are hearing the music of the "King of Pop" more now than since before his recent death, and wondered if this state of affairs may continue into the future, the answer is probably an emphatic yes.
If you have also wondered why the fight over his estate was so fierce, the answer is just two words - recapture rights.
Most musicians believe that once they assign their copyright to a publishing company, they give up control for all time.
But U.
S.
Copyright law includes a provision in which a songwriter or their heirs can "recapture," or regain full administrative control of their songs.
35 years after your work has been published, or 40 years after you've assigned your work to a publisher if publication has not happened, a five-year period begins in which you or your heirs can demand full control of your copyrights back.
There is nothing a publisher can do but give you what you want, if you do it right.
The only catch: You must formalize your demand in writing two years before you want the song back.
In other words, the latest you could file your demand is the 38th year after your work has been published, or the 43rd year after your work went to a publisher but was not published.
In the case of Michael Jackson, many of his early solo hits are now in the recapture period, including "Got to Be There" (1972) and "Ben.
" (1972).
Jackson 5 hits in the recapture period include "Sugar Daddy" (1972), and the huge hit "Dancing Machine" (1973).
Next year, the Jackson 5's "All I Do is Think of You" and the solo "Take Me Back" will enter the recapture period (both released in 1975, 34 years ago).
In five years, Jackson's hit "Don't Stop 'Til You Get Enough" (1979) will enter the recapture period, and in eight years, everything on Jackson's mega-hit album Thriller (1982) will also enter the recapture period.
The control of millions of not billions of dollars in assets would go from the music industry back to Jackson's heirs if they were to pursue these rights, because demand for Jackson's music is not going to go away no matter who controls the rights.
Of course, all of this assumes that Jackson's heirs understand the power of copyrights and how to control them.
Many a musician and his or her heirs have no idea how to register, assign, and recapture control of music that is making money for plenty of people beside them.
The trick always is getting the wealth created from your music to come home again.
Registering your work for copyright is the first step; exercising your recapture rights if your song does well can be another, later step (for you or for your heirs).
The takeaway for every musician should be this: If you're not happy with what your publisher is doing, or if you are happy but you think you can do better, get those letters of demand ready for that 35th year.
Best to you on your music pursuits!
If you have also wondered why the fight over his estate was so fierce, the answer is just two words - recapture rights.
Most musicians believe that once they assign their copyright to a publishing company, they give up control for all time.
But U.
S.
Copyright law includes a provision in which a songwriter or their heirs can "recapture," or regain full administrative control of their songs.
35 years after your work has been published, or 40 years after you've assigned your work to a publisher if publication has not happened, a five-year period begins in which you or your heirs can demand full control of your copyrights back.
There is nothing a publisher can do but give you what you want, if you do it right.
The only catch: You must formalize your demand in writing two years before you want the song back.
In other words, the latest you could file your demand is the 38th year after your work has been published, or the 43rd year after your work went to a publisher but was not published.
In the case of Michael Jackson, many of his early solo hits are now in the recapture period, including "Got to Be There" (1972) and "Ben.
" (1972).
Jackson 5 hits in the recapture period include "Sugar Daddy" (1972), and the huge hit "Dancing Machine" (1973).
Next year, the Jackson 5's "All I Do is Think of You" and the solo "Take Me Back" will enter the recapture period (both released in 1975, 34 years ago).
In five years, Jackson's hit "Don't Stop 'Til You Get Enough" (1979) will enter the recapture period, and in eight years, everything on Jackson's mega-hit album Thriller (1982) will also enter the recapture period.
The control of millions of not billions of dollars in assets would go from the music industry back to Jackson's heirs if they were to pursue these rights, because demand for Jackson's music is not going to go away no matter who controls the rights.
Of course, all of this assumes that Jackson's heirs understand the power of copyrights and how to control them.
Many a musician and his or her heirs have no idea how to register, assign, and recapture control of music that is making money for plenty of people beside them.
The trick always is getting the wealth created from your music to come home again.
Registering your work for copyright is the first step; exercising your recapture rights if your song does well can be another, later step (for you or for your heirs).
The takeaway for every musician should be this: If you're not happy with what your publisher is doing, or if you are happy but you think you can do better, get those letters of demand ready for that 35th year.
Best to you on your music pursuits!
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