U.S. Instrument of Accession to the Berne Convention – An Untold Story — In one sense, the U.S. joins a treaty when the President signs it and the Senate concurs. But in a strictly formal sense, joining a treaty requires depositing the accession instrument with the treaty body—in the case of the Berne Convention, the oldest and most widely adopted copyright treaty, that meant physically taking a signed document on a plane to Switzerland. Michael Remington, who carried the actual document, recounts the previously untold story.
Four Executives of the Year Will Be Honored at Billboard’s Women in Music Event — Billboard honored Danielle Aguirre, executive vp/general counsel for the National Music Publishers Association; Dina LaPolt, founder/owner of LaPolt Law, who serves as legal counsel to the Songwriters of North America; Jacqueline Charlesworth, of counsel, Covington & Burling; and Susan Genco, co-president, Azoff MSG Entertainment. All four were instrumental in creating and passing the Orrin G. Hatch-Bob Goodlatte Music Modernization Act.
The fight to save music online — UK Music, a music industry association, has published a handy guide to understanding Article 13 of the proposed EU Copyright Directive. Article 13 clarifies the copyright liability of user-uploaded content platforms, like YouTube, and it has attracted significant attention.
Jaco’s Legacy — Stephen Carlisle writes a life that was cut short but a legacy that still lives on, and his role in ensuring that Jaco’s family could share in that legacy. Bonus tip: register your copyrights.
Jean-Michel Jarre talks creativity, tech and music’s AI future — Eamonn Forde talks with electronic music pioneer Jean-Michel Jarre about his work, touring as an electronic musician, and the role of technology in art. “Technological and technical limits are so important and this is probably the difficulty for young musicians today. Technology today makes you believe that there are no limitations.”
As the European Union engages in a “trilogue” on an updated Copyright Directive, here is a “trilogue” of pieces about one of the more contentious portions of the Directive, Article 13, which would place new conditions on service providers to qualify for exemptions from liability for copyright infringement by their users. First, in Behind the Epic Moral Battle Over Article 13: Youtube Money, Rob Levine provides a blow-by-blow account of the online video provider’s lobbying efforts against the Article. Then, in YouTube’s Tactics Re. Article 13 Are the Real Concern, David Newhoff considers the potentially troubling aspects of YouTube using its platform to urge users directly to lobby on its behalf. Finally, in this Twitter thread, Christopher Bingham (@helloiambing), a YouTube creator of 12 years, criticises and counters YouTube’s lobbying efforts against Article 13.
Do not mess with Taylor Swift on streaming money — “‘There was one condition that meant more to me than any other deal point. As part of my new contract with Universal Music Group, I asked that any sale of their Spotify shares result in a distribution of money to their artist, non-recoupable,’ Swift explained.” UMG agreed.
The Unintended Consequences of the ‘Free’ Internet — From the Wall Street Journal, “…’free’ is intrinsic to the profit model of search and social media: to generate ads they must maximize users and engagement, which results in the lowest possible barriers to their platforms. To target those ads, they must learn as much about their users as possible. This pits volume and revenue against quality and privacy.” I would point readers also to Sean O’Connor’s essay, Creators, Innovators, and Appropriation, which makes the additional point that this business model also places pressure on copyright and creators’ rights: “The business models of Google/YouTube, Facebook, Pinterest, Instagram, and other search firms and social media platforms rely on content as a mere ‘commodity’ that is sent through the systems by users as fuel for this community of users to engage with the platforms in ever-increasing amounts. Because the business models are largely ad-based and depend on data mining for revenue, the number one imperative for the platforms is to maximize the number of users and click-throughs…Thus, when considering all the business and revenue models, none give the search or social media platform firms any incentive to protect user or third-party creator content, other than legal compliance.”
EU copyright reforms will preserve the creative ecosystem — “So are we scared the directive will take away our jobs? No. On the contrary, increased remuneration for uploaded creative works will make it easier for artists and their partners to thrive. Do we think that platforms will deal with big companies only? No. The directive levels the playing field in a way that means we can all negotiate in a normal licensing environment. That’s how you make the ecosystem sustainable for all. This is about the artists you haven’t heard of yet.”
IPA Warns South Africa’s Copyright Amendment Bill Conflicts with Berne — The International Publishers’ Association issued a statement this week warning about deficiencies in proposed copyright legislation currently being considered in South Africa. “The IPA opposes the introduction of a ‘fair use’ clause that captures more permitted purposes than the ‘fair use’ clauses in other jurisdictions, which, coupled with a clause that overrides all contracts, broad co-extensive general exceptions and new exceptions for educational institutions, libraries, archives, museums and galleries, will allow reproduction and making available of entire works without the consent of or remuneration to the rights holder.”
Are Electronic Course Packs Fair Use? — The Authors Guild looks at last week’s Eleventh Circuit decision in Cambridge University Press v Albert, an ongoing dispute over Georgia State University’s use of copyrighted works through its digital coursepack system.
Fox News Tells Supreme Court to Reject TVEyes Petition — As Eriq Gardner reports, Fox News has filed its opposition brief responding to TVEye’s Supreme Court cert petition. TVEyes, which copies and distributes clips of television programming to paying subscribers, failed to convince the Second Circuit that it is shielded by fair use and is now seeking to have the Supreme Court review its case.
Advocacy is a Verb: My Testimony on The Hill — A fantastic look (with some fantastic photos) at last September’s House Judiciary Committee hearing on the CASE Act, which would establish a copyright small claims process for creators who cannot afford to bring claims in federal court. The article is a first hand account of the experience by Jenna Close, a working photographer, and one of the witnesses who testified at the hearing.
Is Richard Prince in a Jam? — Appropriation Artist Richard Prince recently filed briefs in two copyright infringement suits he’s currently involved in, arguing, unsurprisingly, that he is protected by fair use.
The Orrin G. Hatch-Bob Goodlatte Music Modernization Act — On Thursday, the monumental bill was signed into law. Here, from the experts at the US Copyright Office, is a summary of what the bill does as well as what the next steps are in building a more modern and equitable music licensing system.
The Marrakesh Treaty Implementation Act — The Music Modernization Act was not the only copyright bill to become law this week. On Wednesday, the Marrakesh Treaty Implementation Act was signed into law. Here, Acting Register of Copyrights Karyn Temple recalls the diplomatic conference that led to the conclusion of the Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired, or Otherwise Print Disabled, which requires countries to provide exceptions to copyright law to permit the creation and distribution, by authorized entities, of books in formats accessible to the blind and visually impaired, as well as allowing the cross-border exchange of such works. The Marrakesh Treaty Implementation Act amends U.S. law to bring the Treaty into effect.
MPAA Granted ‘Dynamic’ Pirate Site Blocking Order in Singapore — Andy at Torrentfreak reports, “With plenty of experience of sites around the world taking evasive counter-measures to avoid blocking, the injunction in Singapore allowed copyright holders to return to Court to request an amended order to block new domains and/or IP addresses. However, this model has proven cumbersome in the past so it’s no surprise the MPA(A) has now persuaded the Court to adopt a more streamlined approach. After highlighting that several of the blocked sites changed their domains to avoid blocking, the High Court has now handed down a ‘dynamic injunction’ which will allow the Hollywood studios to block any new methods deployed by the 53 sites covered by the earlier injunction.”
SCOTUS Will Decide What the Copyright Act Means by “Registered.” — “The two approaches are known as the ‘application’ approach and the ‘registration’ approach. The courts following the ‘application’ approach hold that a work is ‘registered’ and the copyright owner can sue an infringer as soon as the applicant files the application, deposits the copy of the work, and pays the fee. The courts following the ‘registration’ approach hold that a work is not ‘registered’ until the Copyright Office has acted on the application by approving or refusing it, and as such, the owner cannot file suit until the Copyright Office has acted.”
Unfree Agents — “When Spotify claims its company mission is ‘to have more than a million artists to be able to live off of their art,’ what they mean, by ‘making a living,’ is that these artists must bend to Spotify’s will. In the domain of Spotify, ‘making a living’ demands that an artist—often one of personal means—acquiesce to what streams well, to what feeds the algorithms, thereby sacrificing their creativity to the tastes of the playlists (think chill music, ‘viral artists,’ sticky pop songs, mood and activity specific music, etc.).”
Libido for Dystopia: A Response to “The Second Digital Disruption” – Part I — David Newhoff writes, “A paper published in August by Kal Raustiala of UCLA Law and Christopher Jon Sprigman of NYU Law proposes a new, generalized rationale for limiting copyright protections: ‘data-driven authorship.’ Titled The Second Digital Disruption: Data, Algorithms and Authorship in the 21st Century, the central thesis hinges on the assumption that because authors of creative works will soon able to use Big Data to predict a greater likelihood of market success for a given work, this reduces the investment risk in producing that work, which in turn recommends limiting copyright protections.” Also see Part II.
Why I Left My Big Fancy Tech Job and Wrote a Book — “You can’t tell your advertisers that you can target users down to the tiniest pixel but then throw your hands up before the politicians and say your machines can’t figure out if bad actors are using your platform. You can’t buy up a big bookstore and then a big diaper store and a big pet supply store and, finally, a big grocery store, national newspaper, and rocket ship and then act surprised when people start wondering if maybe you’re a bit too powerful. And you can’t really claim that you’re building for everyone in the world when your own workforce doesn’t remotely resemble the outside world.”
Why US creators urgently need Congress to support the CASE Act — Also this week, the House Judiciary Committee held a hearing to consider H.R. 3945, the CASE Act, which would create a copyright small claims process as a quicker and more cost effective alternative to federal litigation. Gabrielle Carteris, president of SAG-AFTRA, writes in support of the bill.
Copyright Act needs update for 21st century — A look at copyright reform efforts in New Zealand. “We often hear advocates for the fair use approach claiming a connection between fair use and innovation. Interesting. This suggests that, because New Zealand doesn’t have fair use, we’re not a country of innovators, which is simply not true. A connection between fair use and innovation is tenuous at best and disingenuous at worst. If you hear it during the debate that takes place around the review of our laws, ask yourself ‘who’s looking to benefit?’. The answer won’t be a creator.”
EU questioning companies over Amazon copycat products: report — File under “Internet platforms empower users”: “European regulators probing Amazon over antitrust concerns are reportedly asking smaller merchants whether the internet giant has been copying their products and selling them under its own brand.”
Guest Post: Think Sci-Hub is Just Downloading PDFs? Think Again — “Let me be clear: Sci-Hub is not just stealing PDFs. They’re phishing, they’re spamming, they’re hacking, they’re password-cracking, and basically doing anything to find personal credentials to get into academic institutions. While illegal access to published content is the most obvious target, this is just the tip of an iceberg concealing underlying efforts to steal multiple streams of personal and research data from the world’s academic institutions.”
Musical instrument goes flat in presence of adulterated medicine — Fascinating. “The challenge with making a generic test for contamination is that all sorts of things can end up in food and medicine. The key to this new idea is that you don’t necessarily need to know what has been added, only that it is different from the standard formulation. In almost all cases, changing the formulation changes the density of a liquid. A sensitive mass sensor, then, should be able to detect medicines that have not been produced properly. … In the developing world especially, hospitals and individuals cannot shell out thousands of dollars for highly sensitive mass balances. They do, however, have access to musical instruments.”
EU approves copyright directive blasted by big tech — “With the vote, MEPs can now start negotiations with the European Council representing the 28 member states which already reached a compromise on the issue in May. These closed-door discussions, which also include the European Commission, are known in EU jargon as ‘trilogues’ and can take several months before any compromise is put to a fresh vote.”
RIAA President Mitch Glazier Responds to SiriusXM’s Music Modernization Act Complaints: ‘Give Me a Break’ — Glazier writes, “The Music Modernization Act is based on two simple principles – streamline the licensing system and work towards fair-market-value based rules for creators. It’s a compromise, like most big packages of legislation, in which every segment of the industry had to give in some places in order to get reforms they cared about more in others. But that kind of ‘give a little get a little’ deal isn’t of much interest to SiriusXM, which has instead focused its efforts on special carve-outs and legal chicanery such as withholding royalties from pre-72 artists until it was sued.”
The YouTube stars heading for burnout: ‘The most fun job imaginable became deeply bleak’ — “Algorithm-led content curation makes creators feel disposable, challenging them to churn out videos in the knowledge that there are younger, fresher people waiting in the wings to replace them. For YouTubers who use their daily lives as raw material for their videos, there is added pressure, as the traditional barriers between personal and professional life are irreparably eroded.”
What it takes to be a stunt person (video) — “Monique Ganderton has been fighting and falling in films and TV for the past 15 years as a stunt performer. She was most recently a stunt double for Charlize Theron and named as Marvel’s first female stunt coordinator. Ganderton tells us how the action comes to life in movies.”