Posts in Entertainment Law

This week in other IP news, recently released data shows that worldwide revenues for music copyright exceeded $28 billion in 2017, up $2 billion over 2016; reports surface about the  “reverse patent trolling” issue in China; Google retains Williams & Connolly for Supreme Court battle with Oracle despite Shanmugam exit; the Copyright Office holds roundtable discussions on detecting online copyright infringement; Twitter takes down a tweet from President Donald Trump after a copyright complaint; “KINKEDIN” trademark for computer dating site successfully opposed in the UK by LinkedIn; EU antitrust regulators are petitioned to look into Nokia patent licensing practices; and loss of patent exclusivity leads to major job cuts at Gilead Sciences. 

Text-based search engines, such as Google and Yahoo (remember Ask Jeeves?), were arguably the most important development leading to our now everyday reliance on the Internet. The concept is simple: type a word or string of words into that inviting text box and instruct your favorite search engine to scour the Internet. The search engine does its magic and quickly displays a list of results, typically hyperlinks to webpages containing information the search engine decided was most relevant to your search. As web technology has progressed, search engines have become smarter and more robust. All major search engines can now, in response to text input, spit out a combination of web pages, images, videos, new articles, and other types of files.Of course, IP owners and those interested in capitalizing on the IP rights of others have found many creative ways to leverage search engine technology to get their goods and services to the top of search engine result pages. These techniques have sparked an entire industry—search engine optimization—which has long been the subject of copyright and trademark litigation. Given that nearly all consumers now have camera-enabled mobile devices, search engine providers have invested heavily in “visual” search engine technology. Visual search engines run search queries on photograph or image input, instead of text input. For example, a tourist visiting the Washington Monument can snap a quick photo of the famous obelisk and upload it into the visual search engine. The visual search engine will then analyze (using, for example, AI or other complicated algorithms) various data points within the photograph to identify the target and then spit out relevant information such as the location, operating hours, history, nearby places of interest, and the like. Google (Google Lens), Microsoft (Bing Visual Search), and Pinterest are all leveraging this technology.Critically important for IP owners, visual search engines can be used by consumers to identify products and quickly comparison shop or identify related products. A golfer could snap a photograph of a golf shirt and ask the visual search engine to return results to find a better price on that shirt or to identify a matching hat or pair of pants. Similarly, a music listener could snap a photograph of an album cover and ask the visual search engine to return results for other music in the same genre that might be interesting to the listener. These are only a few examples of the powerful capabilities of visual search engine technology.

In October 2016, the creators of the classic mockumentary film This Is Spinal Tap filed suit against a group of defendants including the French mass media conglomerate Vivendi S.A. alleging that Vivendi engaged in anticompetitive business activities to defraud the Spinal Tap creators of profits earned from the movie. On August 28th of this year, U.S. District Judge Dolly Gee of the Central District of California allowed the case to move forward by denying a motion filed by defendants to dismiss the case based on the economic loss rule, a rule that otherwise operates to require recovery of damages under contract rather than for an action for fraud. Judge Gee also determined that copyright reversion claims presented a sufficiently ripe controversy for consideration by the court. 

A collection of trade organizations representing music publishers and songwriters recently released a joint statement in which all announced unconditional support for S.2823, the Music Modernization Act (MMA). These organizations include SESAC, the National Music Publishers’ Association (NMPA), the Nashville Songwriters Association International (NSAI) and the Songwriters of North America (SONA). The support of the bill from these collective entities comes after an amendment to the act designed to improve private competition in the market for music licensing after a contentious period of negotiating that amendment.

Frankly, this was a really tough project. My musical tastes range from rock to hip-hop to blues, from Pink to Ottmar Liebert to Kendrik Lamar. The list includes songs from almost five decades, with a significant Canadian component. I like Victor Hugo’s view on the topic, “Music expresses that which cannot be said and on which it is impossible to be silent.” I hope you have a wonderful fourth of July.

On Friday, May 11th, U.S. District Judge Edward Davila entered an order deciding motions made in a copyright case involving competing musical productions based on the fictional story of the fictional folk hero Zorro. Judge Davila’s orders allows copyright infringement claims asserted by a writer who developed a Zorro musical in the 1990s to move forward against Zorro Productions, the entity which had licensed the Zorro character to entertainment companies going back to the late 1940s. This case is in the Northern District of California.

Manhattan Beach, CA-based entity Desilu Studios, Inc., filed a complaint alleging trademark infringement and other claims against New York City-based television and film production firm CBS Studios. The complaint, filed in the Central District of California, asks the court to declare Desilu Studios the correct owner of trademarks covering the use of the Desilu trademark, first coined by famed TV stars Lucille Ball and Desi Arnaz.

Patent owner MOAEC Technologies filed suits alleging claims of patent infringement in the District of Delaware against a series of music entertainment app providers including Spotify, SoundCloud and Deezer. The suits claim that music services offered by all three defendants infringe upon a patent covering a music library collection technology invented by the founder of MOAEC… MOAEC’s suits also include language in an apparent attempt to preempt any patent validity challenges under 35 U.S.C. § 101, the basic statute governing the patentability of inventions, under the Alice/Mayo framework.

On Wednesday, March 21, 2018, a panel of the United States Court of Appeals for the Ninth Circuit ruled that the song Blurred Lines infringed the copyright in Marvin Gaye’s song Got To Give It Up. See Williams v. Gaye, No. 15-56880. Affirming most of the decision of the district court, the Ninth Circuit also held that the award of actual damages and infringers’ profits, and a running royalty, were all proper. The panel did, however, reverse a piece of the district court ruling, finding that the district court erred in overturning the jury’s general verdict in favor of certain parties because the defendants waived any challenge to the consistency of the jury’s general verdicts.

As advocates for all music creators, including independent songwriters, we have endorsed the Music Modernization Act, along with other organizations spanning the music industry, as part of a package of important reforms that will better the lives of people who make music for a living and strengthen the music economy overall.

Attorneys representing Jamaican songwriter Michael May filed a suit for copyright infringement in the Southern District of New York. At issue in the case are musical elements from a 1988 song written by May which were allegedly copied by songwriters for Miley Cyrus 2013 single We Can’t Stop. Although the song lyrics are the only musical element which have been allegedly infringed, the complaint makes plenty of mention of cultural elements which have also been appropriated by Cyrus during the course of her career.

Less than 48 hours before the 60th Annual Grammy Awards in New York City, the Copyright Royalty Board (CRB) ruled to increase royalty payments to songwriters and music publishers from music streaming companies by nearly 44 percent, the biggest rate increase granted in CRB history. These rates will go into effect for interactive streaming and limited download services like Amazon, Apple, Google, and Spotify for the years 2018-2022, and will transform how songwriters are paid by these interactive streaming services.

So uncreative did Judge Michael Fitzgerald find Taylor Swift’s 2014 hit Shake It Off, he dismissed a copyright infringement case filed against her. In his opinion Judge Michael Fitzgerald explained the allegedly infringing lyrics used by Swift lacked even the modest level of creativity required for copyright protection… “The concept of actors acting in accordance with their essential nature is not at all creative; it is banal,” Fitzgerald worte. “In the early 2000s, popular culture was adequately suffused with the concepts of players and haters to render the phrases ‘playas … gonna play’ or ‘haters … gonna hate,’ standing on their own, no more creative than ‘runners gonna run,’ ‘drummers gonna drum,’ or ‘swimmers gonna swim.’”

Grammy Award winning funk, soul band The Commodores—whose hit singles include Easy and Brick House—recently won a trademark infringement lawsuit against its ex-bandmate and founding member Thomas McClary, who left the band in 1984. The right to use The Commodores’ name and trademarks belongs to a company run by founding members William King and Walter Orange, a Florida appellate court has ruled.

Efforts are being invested in leveraging blockchain technology to resolve challenges associated with copyright attribution to provide acknowledgment of copyright of a digital work of art to its holder or author. Blockchain technology aims at utilizing decentralized, cryptographically secure database technology, to document the recordation, reproduction, distribution, and trade of digital works of art… Decentralized blockchain data storing technology relies on the trust of the group. As long as the group is strong and the blockchain is well distributed, the record is still valid, namely, one of the many strengths of blockchain’s data storing technology is that it is designed to survive, have longevity, and be a highly reliable source of record and dating intellectual property, thereby establishing that the digital creation was in one’s possession in a specific point in time, and as such, may provide non-repudiation longevity service.