The Legal Lag Behind Emerging Technology: Aereo – Innovation or Exploit?
Ruchir Patel Aereo allowed users to stream and record broadcast television to any laptop or mobile device. Shortly after Aereo was announced, broadcasters filed for an injunction claiming Aereo was in fact a cable company, and as such needed to pay retransmission fees. The heart of broadcasters’ argument focused on the definition of “performance” and “to the public” under the Transmit Clause of the Copyright Act, 17 U.S. Code section 101. Aereo contested, stating that its service was acceptable both legally and technically because it simply provided users an alternative means to access free, over-the-air broadcasts. Much of Aereo’s legal...
Infringe Now–Apologize Later: Is Class Action a Viable Remedy for Songwriters Claiming Copyright Infringement by Spotify?
Ryan Sullivan Spotify’s compensation model pays out royalties to the record labels, which then compensate the artists and performers. However, Spotify cites the record labels as the reason that artists are not getting paid, but that explanation glosses over whether or not Spotify has infringed upon the copyrights by streaming songs that the company does not have the license to. The streaming service is currently facing the threat of two class action lawsuits that allege that their payment model infringes song writers’ copyrights. The two questions, here, are: Has Spotify infringed upon the copyrights of owners of works that the...
The Fair Play, Fair Pay Act of 2015: What’s at Stake and for Whom?
William W. Shields and Jeffrey S. Becker The United States Copyright Act is primed to take center stage during this current legislative session, as several members of Congress introduced comprehensive legislation earlier this year known as the Fair Play, Fair Pay Act of 2015 (FPFPA). This bill seeks to modify the Copyright Act in three key ways. First, it would create a terrestrial public performance right for recording artists and owners of master sound recordings. Second, it would eliminate the Copyright Act’s exemption against federal copyright protection for sound recordings fixed prior to February 15, 1972. Third, it would establish...
Happy Birthday to You’: The World’s Most Famous Celebratory Song’s Copyright Challenged
Kena Patel It is a well-known adage that the best things in life are free, but how true could this be with a copyright looming over the “Happy Birthday to You” song’s head? On September 22, 2015, a U.S. District Court in California freed “Happy Birthday to You” by ruling on the case Marya v. Warner/Chappell Music, Inc. and declaring Warner/Chappell’s copyright invalid. Although the song is widely known by all, many individuals do not know that “Happy Birthday to You” was copyrighted at all, let alone know that Warner/Chappell was making $2 million a year from ownership. The history...
The Trans-Pacific Partnership on Internet Service Providers: Notice, Counter-Notice, and Liability Limitations
Joseph Davi With the recent release of the Trans Pacific Partnership (TPP) intellectual property chapters, jurists and pundits have quickly begun to comb through the language and pick apart the intriguing and possibly soon-to-be influential document. While many have focused on this document’s proposed changes to the way copyright holders and infringers interact with their governments, each other, and each other’s governments, it is very important to stop and try to understand the changes that are more ground level. More specifically, it is worthwhile to take a close look at the proposed changes in how copyright holders and infringers interact...
Mascot Madness: Are Characters in Times Square Violating Trademark Law?
Victoria Chu The activity in Times Square has also raised trademark issues. The First Amendment generally protects the costumed performers’ right to dress up like characters in public. The First Amendment also protects the costumed performers, so long as they ask for “donations” and “tips.” However, copyright and trademark owners, such as The Walt Disney Company (“Disney”) and Sesame Workshop, among others, have a legitimate interest in protecting their intellectual property. Such interests include their rights to terminate unlicensed use and to protect against consumer confusion and trademark dilution. Courts have not yet addressed whether or not the costumed performers...
Defenseless in the Zombie Infested Internet: Why Audio-Visual Works Demand Exemption Under the Digital Millennium Copyright Act
Eric Maher In the aftermath of Napster and Pirate Bay’s shameless disregard for copyrights, DRM strategies are necessary to protect the incentives that encourage artists and programmers to create and publicly display their works. Yet the security risks associated with DRM levy a high cost on the public, on whose patronage the content creators depend. By restricting research and investigation into security risks in popular public technologies, U.S. copyright law, particularly under the anti-circumvention provisions of the Digital Millennium Copyright Act (“DMCA”), removed necessary safeguards for the public. The large influx of new consumer electronics demands exemption from the anti-circumvention...
Digital Copyright, “Fair Access” and the Problem of DRM Misuse
Nicolo Zingales The advent of the digital age and the wide diffusion of copyrighted works over the Internet have brought about a drastic challenge to the pre-existing rules and legal standards governing the exchange of information. This article points out one of the ways the development of these new technologies has altered the boundaries of copyright, specifically by enabling copyright holders to strategically expand the scope of protection through the strategic use of Digital Rights Management (hereinafter, DRM). After a brief overview of these technologies and their contribution to the development of online markets for copyrighted works, the article discusses...
Digital Sampling of Music and Copyrights: Is It Infringement, Fair Use, or Should We Just Flip a Coin?
Christopher C. Collie; Eric D. Gorman D.J. Girl Talk is one of the budding artists in the music industry today, and his instrument is a laptop. D.J. Girl Talk (hereinafter also referred to as “Girl Talk”), whose real name is Gregg Gillis, “samples,” or uses short clips, from other artists’ songs to create popular dance music. Girl Talk’s songs combine old, contemporary, and downright odd genres of music. Within these different genres, he samples from artists such as Clipse, Kelly Clarkson, and Hot Chip. At his live concerts, D.J. Girl Talk leads massive crowds who dance non-stop to his songs....
On Federal Preemption of Contractual First Sale Waivers
Gary Miller Congress is working with a very sensitive scale and it would be tough enough to keep things steady without copyright holders sneaking over and sticking a big toe on the edge every time they feel threatened. It is true that Congress (or at least some member or members of Congress) might have expected parties to contract around the first sale requirement, and of course, the copyright holders assert that, with the world changing too fast for the statute to keep up, therefore the big toe has been absolutely necessary for protection from looting, piracy and/or insolvency–in other words,...