In 1709 (or was it 1710?) the Statute of Anne created the first purpose-built copyright law. This blog, founded just 300 short and unextended years later, is dedicated to all things copyright, warts and all.
Tuesday, 16 October 2012
Extension of eDate Principles to Performers' Neighbouring Rights
Marion Cotillard during the Paris premiere of Public Enemies at the cinema UGC Normandie
author: nicogenin
A recent ruling by the Nanterre High Court (first intsance; see here) has applied the holding in the eDate v. Martinez ruling by the Court of Justice of the European Union of 25 October 2011 (see here).
As readers will no doubt recall, in the eDate decision the CJEU held that in the case of alleged infringements of personality rights via the internet, it was open to the victim to bring suit seeking damages for the entirety of the harm suffered in the state where his centre of interests lay (in addition to the traditional Fiona Shevill options).
In the case before the Nanterre court, at issue were semi-nude pictures of Marion Cotillard that were posted online by a Beligian publisher. The Court had no difficulty finding that Ms. Cotillard's centre of interests lay in France such that, as regards claims relating to personality rights (droit à l'image or image right to be more precise, which is a rough equivalent of the right of publicity), she was, under the eDate principles, entitled to bring suit in France (for the entirety of the harm suffered).
However, the matter did not end there. As the pictures were taken from a motion picture in which she appeared, she also alleged infringment of her neighbouring right as a performer. Here, the Court first recalled that the CJEU recently (19 April 2012, see here) declined to extend the eDate principles to a case of trademark infringement in light of the principle of territoriality applicable thereto. It then opined as follows:
"The same does not apply to the case at hand, which concerns the rights of perfomers. The economic rights of a performer, which allow him to control the reproduction and [public] communication of his performance, are not subject to any principle of territoriality but may be found unlawful at the level of the European Union in light of the legislative harmonization of the various Member states through several directives (notably 2001/29).
Both the alleged infringements of the performer's moral rights and those of the economic rights are therefore capable of causing harm without any particular territorial boundaries and at the level of the European Union, irrespective of the states in which the motion picture has been shown.
It should be added that a performer's moral rights are instrinsically tied to the performer's person as stated in Section L.212-2 of the Intellectual Property Code and may be said to have a character that is close to that of personality rights.
In light of the foregoing, the criterion of the victim's centre of interests is the most in conformity with the objective of foreseeability of jurisdiction, enabling the plaintiff to easily identify the court before which proceedings may be brought and the defendant to reasonably foresee that which before he may be sued."
While the ruling is clearly a correct application of eDate with respect to the alleged violation of the image right, it remains to be seen whether the extension to performers' neighbouring rights will withstand further scrutiny (in the event of an appeal or when the same issue is litigated again).
MySpace founder's website wanes lyrical
![]() |
| Original lyrics to A Day In The Life by Lennon & McCartney |
In his default judgment Judge Wu said “[the] Defendants have wilfully infringed upon plaintiffs’ copyrights, even after being sanctioned, both by this court and Magistrate Judge Abrams” and “Their blatant disregard for the civil justice system favors a substantial damages award.” LiveUniverse was ordered to pay the claimants $12,500 for each of 528 listed songs which the site published lyrics without permission, a total of $6.6 million, while an injunction bans Greenspan from publishing any other lyrics on his site without first getting permission from the relevant publisher.
Peermusic III Ltd. v. LiveUniverse Inc., 09- 06160, U.S. District Court, Central District of California (Los Angeles)
http://www.bloomberg.com/news/2012-10-11/publisher-win-6-6-million-from-greenspan-lyrics-websites.html
The original lyrics to A Day In The Life, the last tack on the Beatle's Sgt Pepper's Lonely Hearts Club Band sold for $1.2 million in July 2010
Monday, 15 October 2012
Is dancing baby takedown notice an abuse of the DCMA?
Tomorrow the Federal Court of California
will be asked to decide whether a takedown notice issued by Universal Music in
respect of a home video
posted on You Tube is an abuse of the Digital Millennium Copyright Act.
The Electronic Frontier Foundation (EFF),
an organisation which seeks to protect online free speech, will represent
Stephanie Lenz in court tomorrow. It will ask the court to grant Lenz's motion
for summary judgment and rule that Universal's takedown was improper and an
abuse of the DCMA.
The video is of a toddler dancing to
"Let's Go Crazy", by Prince. In 2007, Universal Music claimed that
this particular dancing baby video (and there are many many dancing baby videos
on YouTube) infringed Universal's rights in "Let's Go Crazy". Stephanie Lenz, the baby's mother, responded saying
that the video was a fair use of the song. She asked for declaratory judgment
that her home video did not infringe any Universal copyright, and also claimed
damages and injunctive relief restraining Universal from bringing further
copyright claims in connection with the video. In 2008
the court held that copyright holders cannot order the removal of an online
file without first determining whether the posting reflects fair use of the
material
EFF has said
that "Parents are allowed to document and share moments of their
children's lives on a forum like YouTube, and they shouldn't have to worry if
those moments happen to include some background music."
The pleadings and court orders so far can be
found on EFF's website.
Labels:
DCMA,
fair use,
lenz,
takedown notice,
universal music
Friday, 12 October 2012
Vanuatu, Malaysia go to ©
![]() |
| The Cruel © ...? |
Malaysia too has been busy on the international copyright scene, opting for the brace of 1996 treaties that bear WIPO's name. Coincidentally, these treaties also take effect with regard to Malaysia on 27 December.
Full details are available via WIPO here:
Berne Convention for the Protection of Literary and Artistic Works - Accession by the Republic of Vanuatu Berne Notification No. 257
WIPO Copyright Treaty - Accession by Malaysia WCT Notification No. 78
WIPO Performances and Phonograms Treaty - Accession by Malaysia WPPT Notification No. 82
IFPI welcome Russian ruling
IFPI, the organisation representing the international recorded music industry worldwide, has welcomed the latest in a series of rulings by Russian courts against
vKontakte, the country’s leading social networking site that facilitates the "mass distribution of copyright infringing music". The Arbitration Court of St Petersburg and Leningrad ordered vKontakte to pay damages of 550,000 roubles (€13,718) to SBA Gala Records, an independent Russian record label and licensed distributor for EMI Music’s international repertoire, for its role in facilitating the illegal distribution of 11 unlicensed sound recordings online. vKontakte enables any user to upload files containing copyright infringing music to its social networking platform, then offers its other users the opportunity to search for the tracks and the ability to stream them, and download them using apps and browser extensions. It is Russia’s most popular online entertainment platform with more than 110 million registered users and is one of the top 50 most visited sites in the World.
The IFPI have also announced the re-launch of a newly redesigned www.pro-music.org/ website - a simple information resource for anyone looking to find out more about legitimate digital music services and copyright law across the world. First launched in 2003, Pro-Music was created by IFPI in partnership with a coalition of global music industry partners including independent record companies (IMPALA), performers (GIART), managers (IMMF), publishers (IMPA and ICMP), retailers (GERA) and musicians’ unions (FIM). It gives precise and up-to-date information about the world’s 500 legal music sites. The site has two main features: (i) a comprehensive directory of links to licensed music services, listed by type of service and by country and (b) an information portal with simple guidance about copyright law, a guide on how to access music safely and legally (available in nine languages), and links to useful educational resources and reports about the industry. To reflect the growing choice of digital music services available, the site now breaks down all the services by
type (download, subscription, and ad-supported), as well as by territories
across the globe. The site reflects the rapid development of the digital music
business over recent years. When launched in 2003, Pro-Music listed just 20
services in the whole of Europe, and iTunes had just launched in the US,
selling one million downloads in its first week. Consumers could choose from up
to 200,000 tracks. Today, "consumers from over 100 countries worldwide can
choose from more than 26 million tracks, across around 500 different services.
They have unprecedented choice in how they access music: buying on-demand,
streaming, subscription or listening free with ads, on myriad digital music
players". Digital music now accounts for one-third of recorded music revenues
globally, valued at $5.2 billion in 2011.
Recording Industry In Numbers 2012 edition (the 'definitive source of recorded music market data') is available now from www.ifpi.org
The IFPI have also announced the re-launch of a newly redesigned www.pro-music.org/ website - a simple information resource for anyone looking to find out more about legitimate digital music services and copyright law across the world. First launched in 2003, Pro-Music was created by IFPI in partnership with a coalition of global music industry partners including independent record companies (IMPALA), performers (GIART), managers (IMMF), publishers (IMPA and ICMP), retailers (GERA) and musicians’ unions (FIM). It gives precise and up-to-date information about the world’s 500 legal music sites. The site has two main features: (i) a comprehensive directory of links to licensed music services, listed by type of service and by country and (b) an information portal with simple guidance about copyright law, a guide on how to access music safely and legally (available in nine languages), and links to useful educational resources and reports about the industry. To reflect the growing choice of digital music services available, the site now breaks down all the services by
type (download, subscription, and ad-supported), as well as by territories
across the globe. The site reflects the rapid development of the digital music
business over recent years. When launched in 2003, Pro-Music listed just 20
services in the whole of Europe, and iTunes had just launched in the US,
selling one million downloads in its first week. Consumers could choose from up
to 200,000 tracks. Today, "consumers from over 100 countries worldwide can
choose from more than 26 million tracks, across around 500 different services.
They have unprecedented choice in how they access music: buying on-demand,
streaming, subscription or listening free with ads, on myriad digital music
players". Digital music now accounts for one-third of recorded music revenues
globally, valued at $5.2 billion in 2011. Recording Industry In Numbers 2012 edition (the 'definitive source of recorded music market data') is available now from www.ifpi.org
Thursday, 11 October 2012
The Authors Guild Inc. v HathiTrust: library digitisation project held to be fair use
A matter of days after the Google Books
case between Google and Association of American Publishers settled, comes the decision
of the District Court of New York in HathiTrust.
In this case the Authors Guild claimed that digital copies made by Google and
the HathiTrust were infringing. Litigation against Google is proceeding
separately, however in respect of the actions of the HathiTrust the District
Court of New York has held that:
- The rights granted to libraries under s.108 of the US Copyright Act (the right to make a limited number of copies of certain works for specified purposes) do not preclude a library from relying on fair use as a defence;
- Converting hard copy texts into digital texts is transformative use as the copies serve "an entirely different purpose than the original works"; that purpose being superior search capabilities rather than actual access to the material. The search capabilities of digital texts have given rise to new methods of academic inquiry such as text mining;
Google's use of the digital works is the subject of a separate lawsuit.
Fair Use
Before examining each of the fair use factors, which are
set out at s.107 of the US Copyright Act, Judge Baer considered the Authors
Guild's argument that fair use should not apply at all as it is excluded by s.108
which accords libraries the right to make a limited number of copies of certain
works for specified purposes. However s.108 explicitly states that "[n]othing
in this section . . . in any way affects the right of fair use as provided by
section 107." Judge Baer said that: "In spite of the clear language
that Section 108 provides rights to libraries in addition to fair-use rights that
might be available, Plaintiffs argue that I should find that the Section 107
fair-use defense is precluded by Section 108 in this case", before going
on to conclude, seemingly without much difficulty, that fair use was available as
a defence.
The third fair use factor considers whether the amount of copying was reasonable in relation to the purpose. The question is whether "no more was taken than necessary" (Campbell). With that in mind sometimes it is necessary to copy entire works: in this instance entire copies were necessary to fulfill the HathiTrust's purpose of facilitating searches and giving access to print-disabled individuals.
Decision
In weighing up the fair use factors, with
the aim of copyright law of "promoting the Progress of Science" in
mind, Judge Baer considered that the enhanced search capabilities, the
protection of the HathiTrust's fragile books, and the unprecedented ability of
print-disabled individuals to have an equal opportunity to compete with their
sighted peers protect the copies made by the HathiTrust as fair use. Judge Baer
summed up by saying:
***14 November 2012: by way of update the Authors Guild has notified the court that it will appeal Judge Baer's decision in this case.
- The rights granted to libraries under s.108 of the US Copyright Act (the right to make a limited number of copies of certain works for specified purposes) do not preclude a library from relying on fair use as a defence;
- The use of digital copies to facilitate
access for print-disabled persons is
transformative; and
access for print-disabled persons is
transformative; and
- HathiTrust's activities are fair use.
Facts
The HathiTrust entered into agreements with Google which allowed Google to create digital copies of works in the various universities' libraries in exchange for which Google provided digital copies to HathiTrust.
The HathiTrust partnership is in the
process of creating "a shared digital repository that already contains
almost 10 million digital volumes, approximately 73% of which are protected by
copyright." After digitization, Google retains a copy of the digital book
that is available through Google Books, an online system through which Google
users can search the content and view "snippets" of the books. Google
also provides a digital copy of each scanned work to the relevant universities,
which includes scanned image files of the pages and a text file from the printed
work. According to the Authors Guild,
this process creates two unlawful copies of the original.
After Google provides the universities
with digital copies of their works, the universities then "contribute"
these digital copies to the HathiTrust Digital Library. Authors Guild therefore
claimed that in total, twelve
unauthorized digital copies were created during this digitization process. Google's use of the digital works is the subject of a separate lawsuit.
Summary Judgment
First it is interesting to note that this
is a summary judgment: in order for the case to be dismissed, the HathiTrust had
to show that there was "no genuine issue of material fact" as to
whether their use was fair. Judge Baer found the Authors Guild's arguments to
be without merit and granted the HathiTrust's motion for summary judgment on
the basis that the HathiTrust's actions are protected under fair use.
Fair Use
Before examining each of the fair use factors, which are
set out at s.107 of the US Copyright Act, Judge Baer considered the Authors
Guild's argument that fair use should not apply at all as it is excluded by s.108
which accords libraries the right to make a limited number of copies of certain
works for specified purposes. However s.108 explicitly states that "[n]othing
in this section . . . in any way affects the right of fair use as provided by
section 107." Judge Baer said that: "In spite of the clear language
that Section 108 provides rights to libraries in addition to fair-use rights that
might be available, Plaintiffs argue that I should find that the Section 107
fair-use defense is precluded by Section 108 in this case", before going
on to conclude, seemingly without much difficulty, that fair use was available as
a defence.
Purpose and character of the use
The first fair use factor considers the "purpose
and character of the use, including whether such use is of a commercial nature
or is for non-profit educational purposes." Judge Baer found that the
digital scanning project in this case was undertaken with several goals in mind: (1) it allows
scholars to identify relevant works more efficiently - this tilts the first
factor in HathiTrust's favour; (2) it
helps the HathiTrust preserve its book collections from wear and tear, loss and
theft (as well as from natural disasters); and (3) it provides print-disabled
individuals with "access to the wealth of information within library
collections" - this is, according to Judge Baer a transformative use.
Nature of the copyrighted works
US case law says that "[S]ome works
are closer to the core of intended copyright protection than others." (Campbell), which has been interpreted to
mean that copying factual works is more likely to be fair use than copying
creative works (Blanch v. Koons).
In this case the Authors Guild identified
116 allegedly infringing works of which 76 percent of the were fiction. However
in the digitised library as a whole, approximately 9 percent of the works consist
of prose fiction, poetry and drama. These numbers appear however to have been
disregarded by the judge who held that: "Because the use is
transformative, intended to facilitate key-word searches or access for
print-disabled individuals, the second factor is not dispositive."
Amount of the work copiedThe third fair use factor considers whether the amount of copying was reasonable in relation to the purpose. The question is whether "no more was taken than necessary" (Campbell). With that in mind sometimes it is necessary to copy entire works: in this instance entire copies were necessary to fulfill the HathiTrust's purpose of facilitating searches and giving access to print-disabled individuals.
Impact on the market for or value of the
works
The fourth factor examines "whether
the secondary use usurps the market of the original work." Where a use is
non-commercial, as it is in this case, the claimant has to show "by a
preponderance of the evidence that some meaningful likelihood of future harm
exists" (Sony). Judge Baer held
that the Authors Guild failed this test.
The Authors Guild argued that each
digital copy of a book represents a lost sale as it might otherwise have been
bought through legal channels. Judge Baer comments that this argument ignores
the fact that purchase of an additional copy would not have allowed either
full-text searches or access for the print-disabled individuals, two
transformative uses that are central to the digitisation project.
The Authors Guild's second argument was
that the HathiTrust "expose[d] Plaintiffs' property to immense security
risks that have the potential to cannibalize the book market through . . . widespread
internet piracy." Their expert was however not able to substantiate this
and therefore the judge held that the "unsupported argument fails to
demonstrate a meaningful likelihood of future harm."
Finally, the Authors Guild argued that "Defendants
activities will harm Plaintiffs by undermining existing and emerging licensing
opportunities" such as a "collective management system [which would]
permit certain of the activities of the Defendants in this case while providing
compensation to copyright owners." Unfortunately the Authors Guild admitted
that it could not identify "any specific, quantifiable past harm, or any
documents relating to such past harm" leading the judge to hold that their
argument about a potential market was "conjecture".
The HathiTrust offered substantial
evidence that it would be prohibitively expensive to develop a market to
license the use of works for search purposes, access for print-disabled
individuals, or preservation purposes.
Decision
In weighing up the fair use factors, with
the aim of copyright law of "promoting the Progress of Science" in
mind, Judge Baer considered that the enhanced search capabilities, the
protection of the HathiTrust's fragile books, and the unprecedented ability of
print-disabled individuals to have an equal opportunity to compete with their
sighted peers protect the copies made by the HathiTrust as fair use. Judge Baer
summed up by saying:
"Although I recognize that the facts
here may on some levels be without precedent, I am convinced that they fall
safely within the protection of fair use such that there is no genuine issue of
material fact. I cannot imagine a definition of fair use that would not
encompass the transformative uses made by Defendants' [Mass Digitisation
Project] and would require that I terminate this invaluable contribution to the
progress of science and cultivation of the arts that at the same time
effectuates the ideals espoused by the [Americans with Disabilities Act]."
Given that the digitisation project is not for
profit, so authors are not losing sales of books, this seems to be an entirely
rational and pragmatic decision which takes into account how we use our
ever-evolving technology as well as the needs of partially-sighted readers.
Perhaps it is a wake-up call to publishers that they need to adapt to use
technology in such a way that there is no need for them to bring claims like
this one.***14 November 2012: by way of update the Authors Guild has notified the court that it will appeal Judge Baer's decision in this case.
Labels:
Authors Guild,
digitisation,
fair use,
HathiTrust,
libraries,
transformative use,
US
Wednesday, 10 October 2012
Disney sued for rights to comic book heroes
![]() |
| The Avengers: the fastest film to gross $1 billion |
On Monday Colorado company Stan Lee Media
Inc. filed a claim
against the Walt Disney Company in the District Court of Colorado, alleging
that Disney has no right to the characters. Stan Lee Media claims that:
"Defendant The Walt Disney Company
has represented to the public that it, in fact, owns the copyright to these
characters as well as to hundreds of other characters created by Stan Lee.
Those representations made to the public by The Walt Disney Company are false.
The true facts are that Stan Lee Media, Inc. owns the copyrights to Stan Lee's
creations. Accordingly, Plaintiff Stan Lee Media, Inc. is entitled to the
billions of dollars of profits that have been kept by Defendant Disney."
According to the claim, Stan Lee assigned
copyright to all Marvel properties and characters to Stan Lee Media Inc. in
October 1998, before assigning them to Marvel Enterprises Inc. one month later.
Stan Lee Media Inc. says:
"Oddly, in November, 1998, Stan Lee
signed a written agreement with Marvel Enterprises, Inc. in which he
purportedly assigned to Marvel the rights to the Characters. However, Lee no
longer owned those rights since they had been assigned to SLEI previously. Accordingly,
the Marvel agreement actually assigned nothing."
Stan Lee Media Inc. is seeking damages of
$5.5 billion for copyright infringement stemming from Disney's use of the
characters in films (some of which are produced by Sony and Universal) drawing
box office receipts of $3.5 billion and other merchandising (including the Broadway
show "Spider-Man: Turn Off the Dark") amounting to an estimated
revenue of $2 billion.
One consideration to bear in mind: Stan
Lee Media Inc. has previously made a similar claim against Stan Lee himself and
that case was dismissed last July on the basis of res judicata which prevents further lawsuits on similar claims
that were previously raised. That ruling is currently on appeal.
This blogger does not understand why cases like this one arise in a country which provides for registration of copyright. If each party had diligently recorded their rights, and any assignment of those rights, it would be very clear who now owns the copyright. This isn't something that we are used to in respect of copyright the UK, however the issue is relevant to trade marks. Owners often do not want to take the time or spend the money to record assignments of rights, but as this case demonstrates it is in their own interests to do so.
This blogger does not understand why cases like this one arise in a country which provides for registration of copyright. If each party had diligently recorded their rights, and any assignment of those rights, it would be very clear who now owns the copyright. This isn't something that we are used to in respect of copyright the UK, however the issue is relevant to trade marks. Owners often do not want to take the time or spend the money to record assignments of rights, but as this case demonstrates it is in their own interests to do so.
Monday, 8 October 2012
EMI v ReDigi: US digital music resale hearing begins
On Friday the district court in
Manhattan, New York, heard opening arguments by EMI that ReDigi's resale of second-hand
MP3s infringes copyright.
Readers may remember that back in October
2011, US company ReDigi was launched. ReDigi's business model is based on the
resale of digital content, and it bills itself as being the first legal online
marketplace for second-hand digital material. At the time Ben
commented on the legal issues that arise from the concept in the US, and
sure enough the music industry decided to question those issues in court: in
January of this year Capitol Records (a subset of EMI) sued ReDigi for
copyright infringement.
Readers may remember that back in October
2011, US company ReDigi was launched. ReDigi's business model is based on the
resale of digital content, and it bills itself as being the first legal online
marketplace for second-hand digital material. At the time Ben
commented on the legal issues that arise from the concept in the US, and
sure enough the music industry decided to question those issues in court: in
January of this year Capitol Records (a subset of EMI) sued ReDigi for
copyright infringement.
In February EMI failed to get summary
judgment, meaning that the case has proceeded to a full court hearing,
which began on Friday. ReDigi is relying on the "first sale doctrine"
(which is similar to the principle of exhaustion in Europe) which it argues applies
to digital files in the same way that it applies to CDs and cassettes.
EMI claims that the first sale doctrine
does not apply to digital files as the only way to move those files is to make
duplicates, and there is no guarantee that the original file has been deleted
on resale. EMI says that it owns the "exclusive rights" to
manufacture, reproduce, distribute and sell digital versions of the copyright
protected works of its artists, and refers to agreements signed with authorised
services such as Apple's iTunes and Amazon's MP3 in support of its argument.
ReDigi says that EMI's distribution
rights are limited to material objects, and if digital files are judged to be
material objects it can invoke the first sale doctrine which permits resales.
A secondary claim by EMI is that 30
second clips of songs offered by ReDigi and stored on users' hard drives constitute
another act of unauthorised copying. It will be interesting to see what (if
any) impact the Supreme Court of Canada's ruling in SOCAN
v Bell will have. In that case the Canadian Supreme Court held that 30
to 90 second music clips offered by online music stores such as Apple constituted
fair dealing, which is a more narrow exception than fair use in the US.
ReDigi also argues that the songs are
only loaded into a computer's RAM memory so that they "disappear"
after the track has stopped playing. That sounds to this blogger like an
argument that the copies are temporary; an argument which would not succeed in
the UK following the Court of Appeal's judgment in NLA
v Meltwater (although the Supreme
Court may yet find otherwise).
EMI says that given the widespread piracy
of sound recordings it is questionable whether ReDigi can effectively determine
that digital files have been legally obtained in the first place. To this
ReDigi responds that the only files eligible for resale are those originally
downloaded from iTunes and that it excludes from its service tracks which have
been ripped from CDs or taken from other stores. This method, it says, allows
it to use software to validate ownership.
Finally EMI notes that ReDigi has
acknowledged that there is no way to ensure that users do not retain copies of
the files they upload. Even though ReDigi's software is designed to run
"continuously" in the background to detect songs on any device
attached to the user's computers at a later date, users could presumably back
content up on an external hard drive or other device.
It is not clear what the outcome of the
case would be in Europe. The CJEU's recently held, in UsedSoft,
that an author of software cannot oppose the resale of his "used"
licences allowing the use of his programs downloaded from the internet. The
exclusive right of distribution of a copy of a computer program covered by such
a licence is exhausted on its first sale.
Indeed, one 1709 blog reader commented
at the time: "Very interesting, I expect software companies will
respond by simply moving some of the functionality server-side, but it does
hold out the intriguing possibility of re-selling used MP3 files in the EU."
Prior to the CJEU's ruling in UsedSoft, downloading digital content was
seen as a service and therefore the principle of exhaustion did not apply.
Whether UsedSoft changes that analysis,
given that MP3 files are not the same as computer programs, remains to be seen.
Google has written a letter to the New York
judge making public its "specific and vital interest" in the outcome
of the EMI v ReDigi case, which will
set an important precedent in the music industry.
Labels:
capitol records,
emi,
exhaustion of rights,
first sale doctrine,
redigi,
usedsoft
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