Report of the Librarian of Congress for the Fiscal Year Ending September 30, .C
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Copyright and State Sovereign Immunity
united states copyright office Copyright and State Sovereign Immunity A REPORT Of ThE REgister Of cOPyRighTs AugusT 2021 united states copyright office Copyright and State Sovereign Immunity A report Of ThE REgister Of cOPyRighTs AugusT 2021 The Honorable Patrick Leahy Chair Subcommittee on Intellectual Property United States Senate 437 Russell Senate Building Washington, D.C. 20510 The Honorable Thom Tillis Ranking Member Subcommittee on Intellectual Property United States Senate 113 Dirksen Senate Office Building Washington, D.C. 20510 August 31, 2021 Dear Chairman Leahy and Ranking Member Tillis: On behalf of the United States Copyright Office, I am pleased to deliver a copy of a report entitled Copyright and State Sovereign Immunity, which is available to the public on the Office’s website. Following the Supreme Court’s decision in Allen v. Cooper, you requested that the Copyright Office undertake a study to determine whether, consistent with the Court’s analysis, Congress could legislatively abrogate state sovereign immunity to suits in federal court for damages for copyright infringement. In response to your request, the Office solicited the views of interested stakeholders and held roundtables to amplify the record. The Office received comments from many copyright owners who believed that their works had been infringed by state entities. A number of state entities provided information about their policies on copyright, and views regarding allegations of infringement and the possible effect of abrogation on their operations. The Office also conducted extensive research into the legal standards governing abrogation in the context of copyright infringement. After carefully evaluating the information provided, the Office can report that the number of allegations of state infringement provided in the course of this study is substantially greater than the number Congress considered when it adopted its prior abrogation legislation, and greater than the evidence found insufficient in prior intellectual property cases. -
Entertainment & Sports Lawyer 33.3
Meet the New Boss: NOI Table Top Three Services Filing NOIs Number of NOIs Tech Giants Rely on April, 2016—January 201711 Per Service Amazon Digital Services LLC 19,421,902 Loopholes to Avoid Google, Inc. 4,625,521 Pandora Media, Inc. 1,193,346 Paying Statutory According to a recent story on the subject in Royalties with Mass Billboard12: Filings of NOIs at At this point [June 2016], 500,000 new the Copyright Office [songs] are coming online every month [much lower than the reported numerical By Chris Castle average to date], and maybe about 400,000 of them are by indie songwriters [which There is a fundamental rule of music licensing— may include covers], many of whom who if you don’t have a license from the copyright don’t understand publishing,’ Bill Colitre, owner, don’t use the music. In the new thing of VP/General Counsel for Music Reports, “permissionless innovation,”1 the “disruptors” a key facilitator in helping services to pay want to use the music anyway. Nowhere is publishers, tells Billboard. ‘For the long tail, this battle more apparent than the newest music publishing data from indie artists often new thing—mass filing of “address unknown” doesn’t exist’ when their music is distributed compulsory license notices for songs. to digital services. You’re probably familiar with U.S. compulsory Conversely, neither digital retailers, i.e., music mechanical licenses2 for songs mandated by users, nor aggregators appear to be able (or Section 1153 of the Copyright Act.4 We think perhaps willing) to collect publishing information -
The Next Great Copyright Act
THE NEXT GREAT COPYRIGHT ACT Twenty-Sixth Horace S. Manges Lecture by Maria A. Pallante1 I. INTRODUCTION Tonight my topic is the next great copyright act, but before I speak about the future, I would like to talk a little about the past, including the role of the Copyright Office in past revision activities. In my remarks, I will address the need for comprehensive review and revision of U.S. copyright law, identify the most significant issues, and suggest a framework by which Congress should weigh the public interest, which includes the interests of authors. I also will address the necessary evolution of the Copyright Office itself. Those of you who have been to our offices in Washington know that we have a conference room featuring portraits of the former Registers of Copyright dating back to 1897.2 When guests are seated at our table, the former Registers preside on high, wearing a variety of expressions and overseeing complex conversations about copyright law in the digital age. Sometimes I think they would be startled by the discussions we have, but then again it might all sound familiar. Solberg (1887-1933) Thorvald Solberg was the first and longest-serving Register of Copyrights. He seems inspired in his portrait, and for good reason. Solberg was a visionary leader, a champion of authors’ rights, and an early advocate for the United States’ adherence to the Berne Convention for the Protection of Literary and Artistic Works (“Berne Convention”).3 Under his care, the Copyright Office grew from a handful of employees to more than a hundred professional staff, and took on the many assorted roles that are still critical to the mission of the Office today. -
Transforming Document Recordation at the United States Copyright Office a Report of the Abraham L
u n i t e d s t a t e s c o p y r i g h t o f f i c e Transforming Document Recordation at the United States Copyright Office a report of the abraham l. kaminstein scholar in residence december 2014 u n i t e d s t a t e s c o p y r i g h t o f f i c e Transforming Document Recordation at the United States Copyright Office a report of the abraham l. kaminstein scholar in residence december 2014 Transforming Document Recordation at the United States Copyright Office: A Report to the Register of Copyrights Robert Brauneis Abraham L. Kaminstein Scholar in Residence, U.S. Copyright Office Professor of Law, The George Washington University Law School December 31, 2014 About the Abraham L. Kaminstein Scholar in Residence Program Through its Abraham L. Kaminstein Scholar in Residence Program, the Copyright Office brings leading academics with a demonstrated commitment to the study of copyright law and policy to the Copyright Office, at the invitation of the Register, to conduct research and/or work on mutually beneficial projects for a sustained period of time. Abe Kaminstein served as the sixth Register of Copyrights, from 1960 to 1971. He was a leading force in adapting the copyright registration system to the public interest, and in laying the groundwork for the general revision of copyright law. Table of Contents I. Introduction. ................................................................................................................................. 7 A. Process. ................................................................................................................................... 8 B. Roadmap. ................................................................................................................................ 8 C. Reference Abbreviations and Locations. ................................................................................ 9 D. Acknowledgments. ............................................................................................................... 10 II. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
Copyright Publication on the Internet
1 COPYRIGHT PUBLICATION ON THE INTERNET DEBORAH R. GERHARDT* I. Introduction................................................................. 1 II. Ambiguities Latent in Copyright Publication Doctrine....................................................................... 5 III. The Enduring Significance of Copyright Publication ................................................................ 13 IV. Internet Publication................................................... 23 V. Internet Publication Indicators.................................. 38 VI. Conclusion ................................................................ 43 I. INTRODUCTION This Article tackles the question of when a work distributed over the Internet is published as a matter of copyright law. Copyright publication doctrine retains significant practical importance and can have a dispositive impact on the economic value of a work. Publication can also determine whether a court has jurisdiction over a * Associate Professor of Law, University of North Carolina School of Law. I am grateful to Ann Bartow, Jim Gibson, Rebecca Tushnet, Alfred Chueh-Chin Yen, and participants at the 2019 University of New Hampshire Redux Conference and the 2019 Intellectual Property Scholars Conference. I am also grateful to Chandler Martin and R. Taylor Townes for excellent research assistance. Volume 60 – Number 1 2 IDEA – The Law Review of the Franklin Pierce Center for Intellectual Property copyright claim. For many twentieth century works, publication with observance of formalities was required -
The Need for More Certainty of Copyright Status for Classical Music Works Published Between 1925 and 1978*1
IF IT IS BAROQUE, FIX IT: THE NEED FOR MORE CERTAINTY OF COPYRIGHT STATUS FOR CLASSICAL MUSIC WORKS PUBLISHED BETWEEN 1925 AND 1978*1 I. INTRODUCTION Classical music is all around us. Although dismal concert attendance numbers suggest otherwise, classical music still has an important place in modern culture—from elevating emotions in film soundtracks to wooing consumers through television commercials.2 Edvard Grieg’s Peer Gynt appeared in a Coca-Cola commercial aired during the Pyeongchang 2018 Olympics.3 Advertising agencies have used Pyotr Ilyich Tchaikovsky’s famous 1812 Overture to sell products ranging from breakfast cereal to a drug that treats overactive bladder.4 Independence Day celebrations around the nation also frequently feature the piece.5 Nonclassical artists surreptitiously submerge classical works into popular music. The verse of Eric Carmen’s song “All by Myself,” also covered by Celine Dion,6 originates in Sergei Rachmaninoff’s Piano Concerto no. 2 in C Minor.7 Rapper Nas used Ludwig van Beethoven’s “Für Elise” throughout his song “I Can.”8 Nas also used Frédéric Chopin’s Étude in C Minor, op. 10, no. 12 in his song “A Queens Story.”9 Lady Gaga’s hit song “Alejandro” begins with Vittorio Monti’s Czardas,10 which itself comes from a traditional Hungarian folk dance.11 Ludacris’s song “Coming 2 America” cleverly and appropriately contains Antonín Dvořák’s Symphony no. 9 in E Minor, op. * Yunica Jiang, J.D. Candidate, Temple University Beasley School of Law, 2020. I would like to thank Professor Erika Douglas for her feedback, guidance, support, and encouragement throughout this process. -
Cable-Copyright: the Corruption of Consensus, 6 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 6 | Number 2 Article 2 1-1-1983 Cable-Copyright: The orC ruption of Consensus Leslie A. Swackhamer Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Leslie A. Swackhamer, Cable-Copyright: The Corruption of Consensus, 6 Hastings Comm. & Ent. L.J. 283 (1983). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol6/iss2/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Cable-Copyright: The Corruption of Consensus By LESLIE A. SWACKHAMER* I Introduction [T] his is the corruption of consensus-the attempt to find uni- versal agreement on so many issues that great public purposes are eroded by tiny problems solved by adjustment and adaptation.' The 1976 Copyright Revision Act was over twenty years in the making.2 During most of those twenty years, the cable- copyright issue stalemated the revision of the 1909 Copyright Act, legislation which was passed before the invention of radio or television.' A lack of integration between communications and copyright policy formed the core of -
A Design for the Copyright of Fashion
Boston College Intellectual Property & Technology Forum http://www.bciptf.org A DESIGN FOR THE COPYRIGHT OF FASHION Jennifer Mencken* I. INTRODUCTION Fashion apparel is a multi-billion dollar industry that has no national boundaries. Designers, [1] retailers and consumers follow the game of international fashion. Within the last decade, consumer knowledge of specific designers has increased dramatically. Magazines and newspapers now cover the fashion industry as part of their national news coverage, focusing on the ever-changing world of creative designer expressions. [2] The general public has a ready command of the names and faces of fashion models and the designers for which they model. Countless television shows and feature films [3] exploit the fashion industry world. Consumers can now recognize the distinct style of their favorite designers: Chanel, jersey-knit double-breasted suits in contrast colors with trademarked brass buttons, and quilted leather accessories; Gianni Versace, colorful handprinted silks with reproduced 17th and 18th century illustrations; Issey Miyake, sparse deconstructed gender neutral garments in natural fabrics or highly unnatural polymers, which redefine both form and movement. [4] In 1977, former Register of Copyrights Barbara Ringer stated that the issue of design protection is “one of the most significant and pressing items of unfinished business” of copyright revision. [5] This issue remains unaddressed today, even though the need for revision is even more significant, because garment designs lie along the fringe area of creative expressions that exhibit the same qualities as protected matter. This paper suggests that the traditional reasoning which denied certain articles copyright protection is no longer reasonable, and that protection should now be extended to garment designs. -
Columbia Law School Winter 2010
From the Dean On August 17, 2009, Dean David M. Schizer offered his welcoming remarks to the incoming class of J.D. and LL.M. students at Columbia Law School. An edited version of that address appears below. This is both an inspiring and a challenging time to come that excellence is measured in many different ways—in to law school. It is inspiring because the world needs you the pride you take in your work, in the reputation you more than ever. We live in troubled times, and many of develop among your peers, and, more importantly, in the great issues of our day are inextricably tied to law. Our the eyes of the people you have helped. But to my mind, financial system has foundered, and we need to respond excellence should not be measured in dollars. with more effective corporate governance and wiser The second fundamental truth to remember is that regulation. Innovation, competition, and free trade need integrity is the bedrock of any successful career. It is a to be encouraged in order for our economy to flourish. great source of satisfaction to know that you have earned Because of the significant demands on our public sector, your successes, that you didn’t cut any corners, and that our tax system needs to collect revenue efficiently and people trust you. fairly. Our dependence on imported fuel jeopardizes our As for the specifics of what career choices to make, national security, and our emission of greenhouse gases you are just beginning that journey. Most likely, there places our environment at risk. -
Mar 30 2012 * ------)( Brooklyn Office Ashanta Marshall
Case 1:08-cv-01420-LB Document 134 Filed 03/30/12 Page 1 of 53 PageIDFILED #: <pageID> IN CLERK'S OFFICI U.S. DISTRICT COURT E.c.N.V. UNITED STATES DISTRICT COURT EASTERN DISTRICT OF NEW YORK * MAR 30 2012 * ------------------------------------------------------)( BROOKLYN OFFICE ASHANTA MARSHALL, Plaintiff, OPINION & ORDER 08 CV 1420 (LB) -against- AFRICA MARSHALL, Defendant. -----------------------------------------------------)( BLOOM, United States Magistrate Judge: Plaintiff and defendant are brothers. In 2001, the brothers Marshall began producing a series of instructional videos featuring plaintiff Ashanta Marshall's hairstyling techniques. Plaintiff had years of experience in the hair industry, and defendant Africa Marshall, the younger brother, was interested in video production and was studying communications and marketing. After working together for nearly four years, the brothers fought about the business and their relationship dissolved. However, both brothers continued to promote and sell the videos through various media outlets, and they both registered copyrights with the United States Copyright Office. They now dispute their respective rights to the videos and to the use of plaintiffs image. Plaintiff, proceeding pro se, brought an action in the Civil Court of Kings County in 2008. Defendant found pro bono counsel who removed the case to this Court and filed three counterclaims. For three years, the brothers have fought about discovery, engaged in vigorous motion practice, and attacked each other and defendant's counsel. After completing discovery, defendant moved for summary judgment, which was granted in part and denied in part. The parties consented to trial before a magistrate judge pursuant to 28 U.S.C. § 636(c), and I held a bench trial on August 1 and 2, 2011. -
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No. 00-201 IN THE 6XSUHPH&RXUWRIWKH8QLWHG6WDWHV ———— THE NEW YORK TIMES COMPANY, INC.; NEWSDAY, INC.; THE TIME INCORPORATED MAGAZINE COMPANY; LEXIS/NEXIS and UNIVERSITY MICROFILMS INTERNATIONAL, Petitioners, v. JONATHAN TASINI; MARY KAY BLAKELY; BARBARA GARSON; MARGOT MIFFLIN; SONIA JAFFE ROBBINS and DAVID S. WHITFORD, Respondents. ———— On Writ of Certiorari to the United States Court of Appeals for the Second Circuit ———— BRIEF OF AMICI CURIAE AMERICAN SOCIETY OF MEDIA PHOTOGRAPHERS, INC. ET AL. IN SUPPORT OF RESPONDENTS ———— VICTOR S. PERLMAN L. DONALD PRUTZMAN AMERICAN SOCIETY OF MEDIA Counsel of Record PHOTOGRAPHERS ANDREW BERGER 150 North Second Street TANNENBAUM HELPERN Philadelphia, PA 19106-1912 SYRACUSE & HIRSCHTRITT LLP 900 Third Ave. New York, NY 10022 (212) 508-6700 WILSON-EPES PRINTING CO., INC. – (202) 789-0096 – WASHINGTON, D. C. 20001 TABLE OF CONTENTS Page INTERESTS OF AMICI CURIAE ................................. 1 SUMMARY OF ARGUMENT ..................................... 5 ARGUMENT................................................................. 9 I. THE LEGISLATIVE HISTORY OF SECTION 201(c) DEMONSTRATES THAT IT WAS INTENDED TO PROTECT AUTHORS’ COPYRIGHTS IN CONTRIBU- TIONS TO COLLECTIVE WORKS AND TO GRANT PUBLISHERS LIMITED RIGHTS IN THOSE CONTRIBUTIONS......................... 9 A. Background of the 1909 Act ........................ 10 B. The Register’s 1961 Report.......................... 11 C. The Debate over the Register’s Recommendation ......................................... 12 D. The 1964 Draft Bills .................................... 15 E. The 1965 Draft Bill and Register’s Supplementary Report.................................. 17 F. The 1976 House Report ................................ 20 G. The Current Register’s Views...................... 21 II. THE DIRE CONSEQUENCES PREDICTED BY PETITIONERS AND THEIR AMICI ARE OVERSTATED AND MISLEADING .............. 22 (i) ii TABLE OF CITED AUTHORITIES CASES: Page Abend v. MCA, Inc., 863 F.2d 1465 (9th Cir.