Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts

Monday, 12 August 2019

THE COPYKAT - in the wake of "Blurred Lines" - more blurred lines

There have been two major US decisions in the word of music and sound recordings with a win for Kraftwerk and a loss for Katy Perry, and in the background a third (the Led Zepplin "Stairway to Heaven" case waits for an upcoming an en banc appeal in the Ninth Circuit, and a fourth involving Ed Sheerhan in turn waiting for that decision (Sheerhan v Townsend) with Judge Louis L Stanton acknowledging that as the appeal judges will be considering some copyright technicalities that are very relevant to the 'Thinking Out Loud' action, even if not binding, to proceed with Sheerhan case in "wilful ignorance" of their conclusions would be "folly". 

First off - sampling: The European Court of Justice sided with German electronic music pioneers Kraftwerk, ruling that unauthorised sampling of even brief clips of a sound recording can constitute copyright infringement as long as they are recognisable, in a long running case that has added some clarity to how sampling should be treated in the European Union. Kraftwerk brought the action against hip-hop producers Moses Pelham and Martin Haas in 1999 over the Sabrina Setlur track “Nur Mir”, which revolves around a two-second snippet of Kratfwerk's “Metall auf Metall” used as a loop.

In 2012, Germany's Federal Court Of Justice found in favour of Kraftwerk, in part on the basis that Pelham could have easily recreated the sound he sampled, so clipping the snippet out of 'Metal On Metal' was just laziness. Four years later the German Constitutional Court overturned that judgement, deciding Pelham's "artistic freedom" had to be considered - and that the negative impact on Kraftwerk caused by the uncleared sample wasn't sufficient to outweigh the sampler's artistic rights. The case was then referred to the CJEU.

Making clear the difference between sampling a recording and copying part (or all) of a song, Advocate General Maciej Szpunar wrote in his opinion "A phonogram is not an intellectual creation consisting of a composition of elements such as words, sounds, colours etc. A phonogram is a fixation of sounds which is protected, not by virtue of the arrangement of those sounds, but rather on account of the fixation itself" adding "Consequently, although, in the case of [other creative works], it is possible to distinguish the elements which may not be protected, such as words, sounds, colours etc, from the subject-matter which may be protected in the form of the original arrangement of those elements, such a distinction is not, however, possible in the case of a phonogram".

In the second major case, a jury has now ruled that the Katy Perry song Dark Horse does plagiarise a Christian rap song. After two days of deliberations, the jurors concluded that Perry's team had likely heard 2008 release 'Joyful Noise' before writing 'Dark Horse', and that the latter was sufficiently similar to the former to constitute copyright infringement.

Both producer Dr Luke, a co-writer on Perry's hit and Perry herself said they had never heard of 'Joyful Noise' nor heard of the artist behind it, the rapper Flame, real name Marcus Gray - before they started work on their song and recording. Gray's team argued that there had been many opportunities for Perry and her co-writers to to have heard 'Joyful Noise' and argued that whilst the copying may not have been deliberate,  her team had subconsciously infringed the earlier work. Gray's legal team also also pointed to the similarities between the two songs - each share a distinct musical phrase consisting of four C notes followed by two B notes. Perry's legal team argued that this was a very common musical phrase that couldn't possibly be protected by copyright. Luke added that if the court did indeed decide that a musical phrase of this kind enjoyed copyright protection, it could set a dangerous precedent that would impede the music making process.

They're trying to own basic building blocks of music, the alphabet of music that should be available to everyone," said Katy's lawyer Christine Lepera during her closing arguments in court last week, but the jury has accepted that this was copyright infringement. The case now goes to a penalty phase, where the jury will decide how much Perry and other defendants owe for copyright infringement.  Jurors found all six songwriters and all four corporations that released and distributed the songs were liable, including Perry and Sarah Hudson, who wrote the song’s words, Juicy J, who wrote the rap he provided for the song. Other defendants found liable included Capitol Records as well as Perry’s producers: Dr. Luke, Max Martin and Cirkut, who came up with the song’s beat.

A wide array of artists – including Korn, Tool, Sean Lennon, Linkin Park and  Jason Mraz have joined the amicus brief submitted in the ongoing ‘Stairway To Heaven’ case, supporting the British rock band in their arguments and calling on the judges in the Ninth Circuit appeals court to uphold the earlier ruling that Led Zeppelin did copy ‘Taurus’ when they wrote their 1971 classic. In total 123 artists support the amicus brief saying that if the original ruling in the ‘Stairway to Heaven’ case is overturned it could create a dangerous precedent that would be hugely detrimental to songwriting and an assumption that “trivial and commonplace similarities between two songs could be considered to constitute the basis for a finding of infringement” and that this would confuse artists, stifle creativity, and result in “excessive and unwarranted” litigation by artists and lawyers seeking to profit from ambiguities in the law.

Rolling Stone magazine published the article Why All Your Favorite Songs Are Suddenly Being Sued? asking asking why is so much music being hit with lawsuits, in a trend a trend that shows no sign of slowing. You can find that here and more comment and analysis here (from Professor Edward Lee in the Washington Post) 

Major US broadcasters ABC, CBS, Fox and NBC Universal have filed a lawsuit against an upstart online TV service offering free over-the-air digital TV service. The suit filed in U.S. District Court in New York alleges Locast owner, New York-based non-profit advocacy group Sports Fans Coalition violates broadcaster copyrights streaming content to users for free. The suit is similar to 2013 litigation brought by studios against Aereo, the defunct OTT service that transmitted digital signals to subscribers via over-the-air antennas. The litigation also pits broadcasters against AT&T, which owns and operates WarnerMedia — although the telecom is not party to the lawsuit. More here and here. 

And more from the US: Bloomberg Law reports that a battle over banana costumes continues in federal court with one manufacturer under order to stop selling full-body banana suits because they likely infringe another’s valid copyright.  The U.S. Court of Appeals for the Third Circuit affirmed a lower court’s order stopping Kangaroo Manufacturing Inc. from selling banana costumes that are confusingly similar to plaintiff Rasta Imposta’s copyrighted design. Rasta’s copyright is valid because it didn’t “monopolize the underlying idea” of a banana, the court said. More here. 

And finally - copyright notices - serious business yes? It seems not always! Techdirt have been doing some digging and have found some very amusing notices that certainly do not fit in with the prescribed formats: How about ""No part of this publication may be reproduced, stored in a retrieval system, cookie jar or spare room... Unless you want to write the whole thing out in green crayon, in which case feel free." and "This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, carried across the country by relay, fired into space, turned upside down, eaten... On pain of death."



Friday, 15 March 2019

Marc Jacobs looks to dismiss Nirvana case

Nirvana T-shirt (EMP)
In December 2018 there were a number if press reports that detailed that legal representatives for the grunge band Nirvana were suing fashion brand Marc Jacobs for copyright infringement, primarily for using an iconic wobbly yellow and black smiley face design. The brand recently released the Bootleg Grunge T-shirt and sweatshirt as a part of its overall ' Redux Grunge' grunge-inspired collection and seemingly acknowledges the 'inspiration' for the T-shirt the tee with reference to a reissued design from 1993 initially created by Perry Ellis.  At the time of those reports The t-shirt and sweatshirt are still being sold on Marc Jacob’s website and across retailers.

Now Marc Jacobs is seeking to have the copyright infringement case dismissed; Jacobs questions whether Nirvana LLC even owns the copyright in the happy face illustration that was created by Kurt Cobain. It then argues that - while its happy face t-shirts are clearly influenced by the iconic Nirvana merchandise, the imagery on its garments is sufficiently different to not constitute copyright infringement. Jacob's also notes that its products don't include the text  "flower-sniffin, kitty-pettin, baby-kissin corporate rock whores" which was on the back of the band's original shirts. And where the Nirvana t-shirts bore the band's name, Jacobs' say 'Heaven', albeit in a very similar font.

Marc Jacobs T-shirt
"[The original image filed with the US Copyright Office] includes the word 'Nirvana'. The accused products do not. The [registration] includes the 'flower sniffin' writing. The accused products do not. The [registration] includes a smiley face with Xs as eyes. The accused products do not; they use a different letter for each eye, the letters M and J, signifying Marc Jacobs".

So the Marc Jacobs defence appears to be that whilst their T-shirts are 'Nirvana-esque' - they are not copies: Inspiration, not appropriation. The designer’s motion for dismissal acknowledges the designs as “inspired by vintage Nirvana concert T-shirts from the 1990s,” but also contests that he “reinterpreted the design to incorporate [a Marc Jacobs] branding element into an otherwise commonplace image”.

"The only similarity between what is covered by the [registration] and the artwork contained on the accused products .....  is the use of a substantially circular outline for the smiley face and a squiggly line used for a mouth, with a tongue sticking out". 

Lawyers for Jacobs also stress that, not only was it Cobain who actually created the original image, but that his widow and daughter approved of the fashion firm's creation. It says: "As friends of the brand, Ms [Courtney] Love and Ms [Frances Bean] Cobain helped celebrate the release of the collection".

https://hypebeast.com/2019/3/nirvana-marc-jacobs-lawsuit-smiley-face



Wednesday, 15 August 2018

THE COPYKAT reaches out to a new public

Howzat! (C) 2018 Ben Challis
There has been plenty of recent comment on the decision by the CJEU in C‑161/17 Land Nordrhein-Westfalen v Dirk Renckhoff where the court found that users who publish content which is already available on the internet would  still need the further consent from the rights owner in question saying “The posting on a website of a photograph that was freely accessible on another website with the consent of the author requires a new authorization by that author”. We have already posted Eleonora's analysis of of CJEU's thought provoking decision and this blogger, a very keen sports photographer, is rather pleased with the CJEU's reasoning which he feels has some resonance - but the decision has stirred up widespread criticism. To me the fact remains when I post a photo on my sports photography Facebook page - for example the one to the left on this very blog - it's targeted to a specific audience for a specific reason - and I would not want to see my photo re-used on a third party website without my consent - being pointed at a 'new' audience whether that's free or perhaps supported by advertising. I certainly would want the right of further consent  should that image used for a different purpose such as in advertising.  And the case is being seen as a pro-copyright with Reuter's headlining with "EU's top court backs copyright holder in landmark ruling" - not least as the Court went against the Opinion of Advocate General Campos Sanchéz-Bordona. More here and others may have different opinions to this CopyKat's thoughts above. 




Techdirt have posted a fascinating insight into the somewhat complex set of cases involving a woman named Shirley Johnson, who posted videos to YouTube that were critical of the New Destiny Christian Centers and Paula White Ministries. This in turn resulted in a lawsuit from Ms Paula White et al for copyright infringement. So far so good. But things did not go smoothly for Ms White. Her case seemed to ignore the fairly obvious defence of fair use - and indeed as time progressed the case was dismissed, and then Johnson counter sued for "malicious prosecution" and she also filed DMCA s512(f) abuse claim. That claim is ongoing by techdirt now reports that  the court awarding Johnson $12,500 against White for the "emotional harm" from the 'bogus' copyright claim. Remembering it was Paula White Ministries (et al) who started this battle, the court was fairly scathing of how White treated the litigation as time went on, saying that Paula White Ministries "have exhibited a patent disregard for the Court’s discovery orders and processes" and "maintained that they did not have to comply with discovery, demonstrating a preordained belief that they were above this process" and  "The Court now finds that the interests of justice require default judgment as the only effective remedy" awarding very limited costs to Johnson (who represented herself) and awarding  $12,500 for emotional harms, although this was limited because Johnson seemingly did not seek medical treatment for the harm.


Another expensive (with hindsight) mistake seems to have been Ludlow Music's efforts to protect the 'copyright' in the iconic US song ‘We Shall Overcome’. Ludlow have now been handed a legal costs bill of $352,000 after conceding earlier this year that the work was public domain in America. The case was settled in January and Ludlow declared that both the melody and lyrics of ‘We Shall Overcome’ are “hereafter dedicated to the public domain”. Now Judge Denise Cote has said that Ludlow should cover the other side’s legal fees - despite the fact that Ludlow’s defence wasn’t “objectively unreasonable” CMU says that the Judge awarded legal costs to reward the Plaintiffs for enabling public access to “an American treasure”. The judge stated: “The degree to which plaintiffs succeeded in this litigation, and the inestimable benefit they have conferred on the public through doing so, renders this the type of lawsuit that should be encouraged in order to promote the purposes of the Copyright Act”.

More from the USA: The Music Modernization Act, which quickly passed the House unanimously in April, and the through the Senate Judiciary Committee, looked in some trouble after an objection by collection society SESAC (formerly known as Society of European Stage Authors and Composers) and the Harry Fox Agency which administers licenses that would be affected by the operations of a new blanket licensing collective in the legislation. Owners Blackstone persuaded Senator Rafael E. “Ted” Cruz (R-Texas) to halt the bill’s progress in the full Senate and things looked tricky until a compromise clarified that the new organization only will administer a particular kind of license, and will have exclusive purview only over blanket licenses - and according to industry sources the Harry Fox and other organisations will still be able to control individually negotiated licenses. before the compromise both the Nashville Songwriters Assn. International and the Songwriters of North America had encouraged their members to speak out against SESAC’s effort to get changes made to the bill, but now the NSAI have said “Reaching consensus within the music industry, on what may be the most important songwriter legislation in history, is a win for American songwriters and the broader music community. We are pleased to have put our differences behind us and support this bill in unanimous harmony. The Nashville Songwriters Association International has been a friend and fan of SESAC’s for decades and that is how our relationship will immediately resume”.


He may have passed but he is still in the news: A takedown notice of the iconic 2016 fan singalong video of 'Purple Rain' that was shot just hours after the singer’s death, has now been withdrawn and the video has been reinstated. After Prince’s death in thousands of fans congregated in the streets of Minneapolis to mourn and one of the most iconic moments from that night involved a video of those fans singing “Purple Rain” together. The video, shot by the Star Tribune’s Aaron Lavinsky, quickly went viral with his video tweet receiving over 14,000 retweets and 17,000 likes. Universal Music then filed a DCMA takedown of the video but after a social media storm at the end of July with Lavinsky saying  on Twitter "This is very disturbing: Universal Music filed a DCMA takedown on a video I shot of thousands of Prince fans singing Purple Rain the night of his death. This was clearly fair use and UMPG and Twitter are in the wrong"  UM have relented and the video is back online prompting a tweet from Lavisky saying "Update: Prince faithful can rejoice -- UMPG has retracted their DCMA takedown of my video and it has reappeared in the original tweet. PURPLE RAIN, PURPLE RAIN!".

THE BBC has halted its action against a pro-independence blogger following a row over alleged YouTube copyright infringements. The UK's public broadcaster had denied political bias after Stuart Campbell, who runs Wings Over Scotland, claimed his channel was closed without warning after the BBC complained about 13 videos that had been uploaded to it and that his use was 'fair dealing'.  Now the channel has been reinstated by YouTube and the BBC has said it will review its actions.

Techdirt is celebrating after it discovered the Finnish Bar Association is reprimanding Finnish law firm Hedman Partners for seemingly violating copyright law by sending out 'settlement letters' to supposed copyright infringers in what Techdirt opine is a classic trolling exercise. Hedman lawyer Joni Hatanmaa seems less concerned saying the firm's actions on behalf of its clients against suspected infringers will continue: "cases against infringers will continue. Plenty are still underway and the project continues to expand."


And finally The BBC reports that a US court has ruled that the plot of Oscar-winning fantasy film The Shape of Water was not copied from a 1969 play. Judge Percy Anderson has now dismissed the legal action that claimed Guillermo del Toro's film copied the story of Let Me Hear You Whisper by Paul Zindel. The late playwright's son sued del Toro, the Fox Searchlight studio and others in February and Zindel v. Fox Searchlight Pictures, Inc. et al, case number 2:18-cv-01435, filed in the United States District Court Central District of California, claimed the two works were "in many ways identical". In his ruling  the judge said they only shared "a basic premise". Del Toro's film, which won four Academy Awards in March including best picture, told of a mute cleaner who falls in love with an amphibious creature. David Zindel's suit claimed the film bore a number of similarities to his father's play, in which a cleaning lady goes to work in a laboratory where experiments are carried out on dolphins. Judge Anderson accepted that the plots were similar but ruled that the central concept was "too general to be protected".

Thursday, 22 March 2018

US Appellate Court majority rules that 'Blurred Lines' DID infringe Gaye classic

The US Court of Appeals for the Ninth Circuit has upheld the 2015 jury verdict which found that Robin Thicke and Pharrell Williams' 2013 hit 'Blurred Lines' infringed on the copyright in Marvin Gaye's 1977 song 'Got To Give It Up'. The decision had attracted widespread criticism and comment, not least as many commentators felt that the jury made their decision by comparing the 'sound' or vibe of the songs, rather than the actual song itself. The appellate panel's  decision was a split decision, 2-1, with a scathing dissent from US Circuit Judge Jacqueline Nguyen who is openly critical of the majority and said that the Marvin Gaye Estate had been able to “accomplish what no one has before: copyright a musical style.” The decision means that Thicke and Williams remain liable for $5.3m in damages and ongoing royalties to the Marvin Gaye Estate from future revenues earned from 'Blurred Lines'. 

The majority of the panel (Judge Milan D. Smith, Jr and Judge Mary H Murguia) held that “Got To Give It Up” was entitled to broad copyright protection because musical compositions are not confined to a narrow range of expression. That said, the panel accepted, without deciding, the merits of the district court’s ruling that the scope of the defendants’ copyright was limited, under the Copyright Act of 1909, to the sheet music deposited with the Copyright Office, and did not extend to sound recordings.

The panel held that the district court’s order denying summary judgment was not reviewable after a full trial on the merits. The panel held that the district court did not err in denying a new trial. The district court properly instructed the jury that there is no scienter requirement for copyright infringement and that it must find both access and substantial similarity. The district court did not erroneously instruct the jury to consider unprotectable elements of “Got To Give It Up.” The district court did not abuse its discretion in admitting expert testimony. In addition, the verdict was not against the clear weight of the evidence because there was
not an absolute absence of evidence of extrinsic and intrinsic similarity between the two songs. The panel held that the district court’s award of actual damages and infringers’ profits and its running royalty were proper.

Reversing in part, the panel held 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. In addition, there was no duty to reconcile the verdicts. The district court erred in finding one party secondarily liable for vicarious infringement. To that end rapper  Clifford "TI" Harris and Interscope Records were not liable for any infringement holding: 

 "Harris and the Interscope parties contend that the district court erred in overturning the jury's general verdicts finding in their favour. We agree. First, the Gayes waived any challenge to the consistency of the jury's general verdicts. Second, even had the Gayes preserved their challenge, neither Federal Rule of Civil Procedure 50(b) nor our decisions in Westinghouse and El-Hakem v. BJY Inc, conferred authority on the district court to upset the jury's verdicts in this case. Third, as to Harris specifically, the district court erred for the additional reason that no evidence showed Harris was vicariously liable".

The panel held that the district court did not abuse its discretion in denying the defendants’ motion for attorneys’ fees under § 505 of the Copyright Act or in apportioning costs among the parties.

The majority of the appeals court also disagreed the proposition that the two tracks "differed in melody, harmony, and rhythm". In dissent Judge Nguyen said that the ruling "strikes a devastating blow to future musicians and composers everywhere”.

It will be Judge Nguyen's dissent which will no doubt attract the most attention. In her strongly worded opinion she says “ 'Blurred Lines’ and ‘Got to Give It Up’ are not objectively similar” and that the two songs "differ in melody, harmony, and rhythm. Yet by refusing to compare the two works, the majority establishes a dangerous precedent that strikes a devastating blow to future musicians and composers everywhere.”

"While juries are entitled to rely on properly supported expert opinion in determining substantial similarity, experts must be able to articulate facts upon which their conclusions—and thus the jury’s findings—logically rely. Here, the Gayes’ expert, musicologist Judith Finell, cherrypicked brief snippets to opine that a “constellation” of individually unprotectable elements in both pieces of music made them substantially similar. That might be reasonable
if the two constellations bore any resemblance. But Big and Little Dipper they are not. The only similarity between these “constellations” is that they’re both compositions of stars.

The case certainly brings up questions of how expert evidence should be viewed by the court: Again and at the end of her opinion Judge Nguyen is critical of the role of the musicologists in this case saying "Admittedly, it can be very challenging for judges untrained in music to parse two pieces of sheet music for extrinsic similarity. But however difficult this exercise, we cannot simply defer to the conclusions of experts about the ultimate finding of substantial similarity. While experts are invaluable in identifying and explaining elements that appear in both works, judges must still decide whether, as a matter of law, these elements collectively support a finding of substantial similarity. Here, they don’t, and the verdict should be vacated. 

Noting that "In assessing the similarity of two pieces of music, it’s important to keep in mind “the limited number of notes and chords available to composers and the resulting fact that
common themes frequently reappear in various compositions, especially in popular music.”
and that "Not all expression is protectable. Originality, the “sine qua non of copyright,” accommodates authors’ need to build on the works of others by requiring copyrightable expression to be “independently created by the author” and have “at least some minimal degree of creativity and that "If an author uses commonplace elements that are
firmly rooted in the genre’s tradition, the expression is unoriginal and thus uncopyrightable" Judge Nguyen adds: "The Gayes, no doubt, are pleased by this outcome. They shouldn’t be. They own copyrights in many musical works, each of which (including “Got to Give It Up”) now potentially infringes the copyright of any famous song that preceded it  ... That is the consequence of the majority’s uncritical deference to music experts."

Judges Smith and Murguia in the majority countered with :"Our decision hinges on settled procedural principles and the limited nature of our appellate review, dictated by the particular posture of this case and controlling copyright law. Far from heralding the end of musical creativity as we know it, our decision, even construed broadly, reads more accurately as a cautionary tale for future trial counsel wishing to maximise their odds of success". They are forthright on Judge Nguyen's dissent:  "The dissent's position violates every controlling procedural rule involved in this case" and they say "The dissent improperly tries, after a full jury trial has concluded, to act as judge, jury and executioner" and "Our decision does not grant license to copyright a musical style or 'groove'" and they add "Nor does it upset the balance Congress struck between the freedom of artistic expression, on the one hand, and copyright protection of the fruits of that expression, on the other hand".

The central issues raised in the case are far from settled - and up next there is the Led Zeppelin 'Stairway To Heaven' appeal which is pending before the Ninth Circuit in a claim brought on behalf of late Spirit songwriter Randy Wolfe's estate that says that the heavy rock classic copies the riff found on Spirit's instrumental "Taurus".

https://www.musicbusinessworldwide.com/blurred-lines-did-infringe-on-marvin-gaye-song-rules-appeals-court/

Williams v Gaye No. 15-56880 D.C. No. 2:13-cv-06004-JAK-AG

https://www.tennessean.com/story/money/2018/03/21/blurred-lines-marvin-gaye-lawsuit-robin-thicke-pharrell-williams-richard-busch/446518002/

https://www.independent.ie/world-news/blurred-lines-copyright-verdict-upheld-by-appeals-court-36731433.html

https://www.rollingstone.com/music/news/appeal-filed-in-led-zeppelin-stairway-to-heaven-trial-w472692 and http://www.musiclawupdates.com/?p=5821 

Blurred Lines: The difference between inspiration and appropriation By Ben Challis (September 2015) here  http://www.wipo.int/wipo_magazine/en/2015/05/article_0008.html

UPDATE: A very useful article on Billboard here  https://www.billboard.com/articles/news/8257580/blurred-lines-appeal-pharrell-robin-thicke-marvin-gaye-legal-analysis which also discuss the possible approaches to an appeal by Thicke and Williams - an en banc review by the 9th Circuit, or an appeal to the Supreme Court?

and see https://abovethelaw.com/2018/03/blurred-lines-can-you-copy-a-music-genre/

And https://www.rollingstone.com/music/features/music-copyright-after-blurred-lines-experts-speak-out-w518206


UPDATE 13.04.18

An appeal for the 9th Circuit to hear the case 'en banc' has been filed in behalf of Williams and Thicke  https://www.hollywoodreporter.com/thr-esq/pharrell-williams-robin-thicke-want-shot-at-blurred-lines-appeal-1102116   The petition for the rehearing argues that this case conflicts with the court's prior copyright decisions and presents exceptionally important issues and "If a copyright holder can now get to a jury simply by proffering an expert to opine that a song's elements are substantially similar to an accused song, without any objective comparison by the court, no musical work is safe from the prospect of copyright liability."