GANGNAM STYLE VS. GANGNAM STYLE

By Eunice Chung

Note: Eunice Chung is a native Korean and a former resident of the Gangnam district of Seoul, South Korea and she is also a long-time fan of PSY.

The music video entitled GANGNAM STYLE (강남스타일) performed by a South Korean pop artist Park Jae Sang (better known as his stage name “PSY”) went viral on YouTube and has become the second most-watched YouTube Video of all time with more than 620 million hits. The popularity of the song/music video and PSY’s signature “horse-riding” dance moves has drawn lots of media attention and has spawned hundreds of parodies and tribute videos all over the world.

Here’s the video clip for those who haven’t seen it:

 

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Peter Frampton is the latest artist to sue for unpaid digital music royalties

Reposted from DLA Piper's Media Intelligence Bulletin

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

Peter Frampton has filed a lawsuit against Universal Music Group ("Universal Music") in respect of unpaid music royalties.

Peter Frampton filed a suit on 23 December 2011 against record label Universal Music for half a million pounds worth of unpaid music royalties and unspecified damages, making him the latest artist to make a claim against a record label in respect of digital royalties.

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BT requested to block The Pirate Bay website

Reposted from DLA Piper's Media & Sport Group Bulletin

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

Ofcom has cleared Al Jazeera English channel ("Al Jazeera") for its broadcast of "The Palestine Papers" after a complaint of unfair treatment by the Chief Negotiator of the Palestine Liberation Organisation ("PLO").
"The Palestine Papers", a four-part documentary series broadcast on Al Jazeera, examined "leaked" diplomatic documents relating to the Middle East peace process. The series criticised the role played by Dr Saeb Erakat, the Chief Negotiator of the PLO, a number of times. This prompted Dr Erakat to complain of unfair treatment and unwarranted infringement of privacy on behalf of both himself and the PLO.
The complaint, amongst other things, argued that important contextual information was deliberately omitted so that viewers could not properly understand the subjects discussed during the negotiation scenes and that the programme broadcast details of confidential documents that were stolen from Dr Erakat's office in breach of confidentiality and privacy.
In response to these particular complaints, Al Jazeera stated that the programme makers took reasonable care and carried out considerable research to ensure that all material facts were presented fairly. Al Jazeera also argued that, in any case, any alleged breach was warranted as the programme dealt with public affairs of great political and international importance and there could be no doubt about the importance of investigating and criticising the decisions made by Dr Erakat and other senior negotiators. Therefore, according to Al Jazeera, no consent was required from anyone within the PLO prior to broadcast.
Ofcom found that material facts in relation to the negotiations were not presented or omitted in a way that led to unfair treatment of Dr Erakat and the infringement of privacy in relation to obtaining and using the confidential document was warranted due to the significant public interest in the issues covered by the documentary series.

A coalition led by the BPI, a music industry body representing a coalition of Hollywood film studios, publishers and record companies, has requested that BT and several other UK ISPs block one of the largest illegal filesharing sites in the world.

The request by the BPI represents the first to be made since the landmark Newzbin2 ruling in August 2011 (for details see the August 2011 edition of Media Intelligence here and the November 2011 edition here) which ordered BT to block its internet subscribers' access to the website of Newzbin2, another illegal filesharing service, using BT's "CleanFeed" filtering technology. Along with a written request to BT made earlier this month, the BPI has also requested that Virgin Media, O2, Talk Talk, Orange and Sky voluntarily block access to The Pirate Bay's website. The Pirate Bay has already been subject to blocking actions in several other jurisdictions around the world.

Meanwhile, following the Newzbin2 ruling, the Motion Picture Association (MPA), the organisation responsible for bringing the Newzbin2 case against BT, is now looking for similar blocking action in respect of Newzbin2 to be taken by the UK's other major ISPs. On 9 November, the MPA confirmed that it had written to Virgin Media, Sky and TalkTalk and sparking interest in whether there might be a move towards another formal court order in the coming weeks.

CJEU decision in SABAM -v- Scarlet

DLA PIPER IPT ALERT

By Ruth Hoy and Patrick Van Eecke

As was the case in Newzbin 2, a national court, in deciding whether to order an ISP to implement technical measures to deal with copyright infringement on the part of the ISP's customers, will need to consider whether the proposed measures are proportionate.  In doing so, it will need to strike a fair balance between the protection of intellectual property and that of a freedom to conduct a business enjoyed by ISPs.
On 24 November 2011, the CJEU gave its judgment in a case brought by SABAM, a Belgian collecting society, against Scarlet Extended SA (formerly Tiscali SA).  
In the national court proceedings, SABAM, which represents the interests of copyright owners in musical compositions had brought action to address the problem of P2P file sharing of digital musical files by Scarlet's customers.  The Court of First Instance in Brussels accepted that the activities on Scarlet's customers inevitably involved copyright infringement of  works within SABAM's repertoire, and that it had jurisdiction to order the prevention of such activities.  It appointed an expert to look into the feasibility of certain technical measures which could be implemented by Scarlet.
Following the report of the Court appointed expert, and in accordance with its powers under Article 87(1) of the Belgian Law of 30th June 1994 on Copyright and Rights, as amended by the Law of 10 May 2007, the Belgian court ordered that Scarlet should bring an end to the infringements by making it impossible for its customers to send or receive files containing a musical work in SABAM's repertoire by means of P2P software, in particular by using Copysense by Audible Magic.
The decision was appealed by Scarlet, who argued that: 
The decision was contrary to EU laws on privacy and freedom of expression; 
The decision was contrary to Article 12 of the E-Commerce Directive (which provides immunity to service providers who assist transmission within a communications network); and 
The decision was contrary to Article 15 of the E-Commerce Directive (which provides that "Member States shall not impose a general obligation on providers to monitor the information that they transmit or store nor a general obligation actively to seek factors or circumstances indicating legal liability").
In considering the case, the Brussels Cour d-Appel referred two questions to the CJEU, questioning whether it was contrary to EU law to require an ISP to introduce such a wide-ranging injunction.
In its judgment, the CJEU has confirmed that the injunction in the SABAM case went too far and that it would be contrary to EU law for a national court to order such a wide-ranging injunction which was not limited by (i) time; (ii) cost;  (iii) technical effectiveness of the measure proposed; (iv) type of communication, without distinguishing between lawful and unlawful content.  In particular, the Order must not go so far as to actively require ISPs to monitor the data of each of its customers in order to prevent any future infringement of IP rights. 

As was the case in Newzbin 2, a national court, in deciding whether to order an ISP to implement technical measures to deal with copyright infringement on the part of the ISP's customers, will need to consider whether the proposed measures are proportionate.  In doing so, it will need to strike a fair balance between the protection of intellectual property and that of a freedom to conduct a business enjoyed by ISPs.

On 24 November 2011, the CJEU gave its judgment in a case brought by SABAM, a Belgian collecting society, against Scarlet Extended SA (formerly Tiscali SA).

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"Goo Goo" and "Gaga"

Reposted from DLA Piper's Media & Sport Group Bulletin

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

Ate My Heart Inc v (1) Mind Candy Ltd (2) Moshi Music Ltd (2011) - interim junction granted against online children's game company and its subsidiary
The High Court has granted an interim injunction preventing the promotion of an animated character known as "Lady Goo Goo" and its associated song due to the risk that the public would confuse it with the music artist Lady Gaga and her associated trademark.
The High Court proceedings were brought by the applicant following the attempted release of "The Moshi Song" by Moshi Music, a new division of the children's social networking site Moshi Monsters. The song had already been posted on YouTube and Moshi Music planned to release it as a single on iTunes. The online computer game also features an animated cartoon baby known as "Lady Goo Goo" which was arguably a visible representative of Lady Gaga. The applicant argued that there had been infringement of its LADY GAGA trade mark.
The applicant argued that there was a risk that consumers might consider "Lady Goo Goo" to have originated from the same source as, or a source economically linked to, Lady Gaga. This argument was strengthened by the fact that users had published blog comments suggesting they were confused as to whether there was a connection.
The factors relevant for the assessment as to whether or not there was a risk of confusion were as follows:

Ate My Heart Inc v (1) Mind Candy Ltd (2) Moshi Music Ltd (2011) - interim junction granted against online children's game company and its subsidiary

The High Court has granted an interim injunction preventing the promotion of an animated character known as "Lady Goo Goo" and its associated song due to the risk that the public would confuse it with the music artist Lady Gaga and her associated trademark.

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Performing artists to benefit from copyright extension to 70 years

Reposted from DLA Piper's Media & Sport Group Bulletin

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

EU ministers have adopted a Directive extending the term of protection for performers' copyright from 50 to 70 years.

The Directive, adopted at a meeting of the Council of Ministers on 12 September 2011, amends Directive 2006/116/EC on the term of protection of copyright and certain related rights.  It increases performers' rights in sound recordings and the rights of producers of sound recordings from 50 to 70 years from the date of first lawful publication or communication to the public.

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Did Beyoncé steal choreography for her "Countdown" video?

Pop diva Beyonce has been accused of stealing dance moves in her new music video "Countdown". Belgian Choreographer Anne Teresa De Keersmaeker claims that Beyonce plagarized dance moves from her original contemporary works without credit.  

Read more: http://www.dailymail.co.uk/tvshowbiz/article-2047520/Beyonc-accused-copying-choreography-new-Countdown-video.html

US court rules music site is not responsible for investigating copyright infringement by users

From DLA Piper's Media and Sports Group e-newsletter 'Media Intelligence'

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

A New York District court has ruled that MP3tunes, a website which allows users to store online collections of music, is entitled to rely on safeharbours under the US Digital Millennium Copyright Act in respect of certain activities of its users.

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TV Catchup case referred to Court of Justice of the European Union

Reposted from DLA Piper's Media & Sport Group bulletin

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

Mr Justice Floyd has referred to the Court of Justice of the European Union ("CJEU") the question of whether live streaming of television programmes over the internet is a "communication to the public" and therefore subject to copyright laws.


TV Catchup Limited ("TVC") operate an internet based live streaming service of broadcast television programmes, including films, in which the copyright is owned by broadcasters ITV, Channel 4 and Channel 5.  TVC's website allows members of the public to access live UK television on computers, games consoles and smart phones. There are over 50 channels available.


In November last year, with the threat of a copyright infringement action looming, TVC applied to the High Court for summary judgment against the broadcasters, on the basis that their claim would have no real prospect of success at trial.  TVC argued that in order to infringe copyright in a broadcast under section 20 of the Copyright, Designs and Patents Act 1988 ("CDPA 1988") ("communication to the public"), the alleged infringer's transmission must itself be a broadcast within the meaning of s.6 CDPA 1988.  Mr Justice Kitchin disagreed and the case proceeded to trial.


Last week, Mr Justice Floyd handed down the High Court's judgment.  He provisionally agreed with the claimants' contention that TVC's streaming service is a "communication to the public" for the purposes of section 20 of the CDPA 1988, but considered that the principles set out in the leading CJEU authority on this point, the Rafael Hoteles case, did not go far enough to enable him to answer the question conclusively in the claimants' favour.  He therefore referred the question to the CJEU.


Floyd J. also addressed the issue of whether TVC had reproduced a "substantial part" of the films and broadcasts in its buffers and on the screens of users.  This issue is currently awaiting judgment by the CJEU in the Football Association Premier League v QC Leisure case, in relation to the screening of live foreign broadcasts of Premier League matches in pubs.  Pending that judgment, Floyd J. expressed the provisional view that TVC had reproduced a substantial part of the films in its buffers and onscreen, but not a substantial part of the broadcasts.  Questions on these issues will also be referred to the CJEU, but are likely to be conclusively determined much more swiftly by the Premier League judgment.


Floyd J. also held that final judgment on TVC's defence under section 28A of the CDPA (which permits in certain circumstances the making of temporary copies which are transient or incidental and an integral and essential part of a technological process, and which have no independent economic significance) should be deferred pending the outcome of the Premier League case; his provisional view is that the defence does apply to reproduction in the buffers ("it is reasonably clear that the reproductions in the buffers have no independent economic significance"), but he was less certain in relation to reproduction on users' screens.

Online music to have parental warnings

Reposted from DLA Piper's bulletin from the Media & Sport Group

Editorial Team: Nick FitzpatrickDuncan Calow and Patrick Mitchell

Warning logos are to be introduced before songs and music videos on services such as Spotify and YouTube. This follows concerns about the amount of potentially inappropriate music content being too easily available to children online.


The British Phonographic Industry (BPI) is to update its "Parental Advisory" scheme. The scheme, which has been in operation for 15 years, is responsible for its warning symbol on CDs, DVDs and records which feature strong language, sex or violence.


The BPI is to implement a set of guidelines that expand the current scheme and will allow the logo to appear with songs and videos that are available to stream or download on UK digital music services.


According to BPI these sites, which also include Napster and Vevo, do not yet have an acceptably uniform parental guidance system.


The news follows recent Ofcom rulings that various music TV broadcasters have been in breach of the Broadcasting Code rules in relation to pre-watershed broadcasts of certain music videos.

IP Roundup: May 2, 2011

Some of the latest news on copyright and trademark from around the web:

IP ROUNDUP: APR. 4

Some of the latest copyright and trademark happenings from around the Internet:

IP ROUNDUP: MAR. 21

Annnndddd we're back from a small hiatus.  Since the last IP Roundup, there have been a ton of great stories and analyses on Trademark and Copyright Law around the Internet.  

IP ROUNDUP: FEB. 21

Our team's weekly roundup of top stories on Copyright and Trademark from around the Internet:

 

Rihanna, LaChappelle, and Copyright

Is Rihanna's New Racy "S and M" Video Substantially Similar to David LaChappelle's Famed Photography?

 
Tabloid darling and pop singer Rihanna is being sued for $1 Million for copyright infringement by famed photographer David LaChapelle for allegedly copying eight photographs in her new racy and provocative "S and M" music video. LaChapelle claims that Rihanna copied the "composition, total concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe, and lighting" from "eight photographs conceived and created" by him. 
 
To prove copyright infringement, LaChapelle would have to successfully establish: (1) ownership of a valid copyright in the photographs; and (2) that Rihanna copied protected elements of his photographs. The hallmark standard for proving infringement is the "substantial similarity" test. In which case, the similarities between the two works need not be literal or exactly identical. It only requires that the works would be perceived as aesthetically close, despite a few disparities, to the ordinary person. Here, LaChapelle likely has valid copyright ownership in the eight photographs. As for the second prong, however, that is up for debate. Does Rihanna's new video pass the substantial similarity test? You can decide.

Tabloid darling and pop singer Rihanna is being sued for $1 Million for copyright infringement by famed photographer David LaChapelle for allegedly copying eight photographs in her new racy and provocative "S and M" music video. LaChapelle claims that Rihanna copied the "composition, total concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe, and lighting" from "eight photographs conceived and created" by him. 

To prove copyright infringement, LaChapelle would have to successfully establish: (1) ownership of a valid copyright in the photographs; and (2) that Rihanna copied protected elements of his photographs. The hallmark standard for proving infringement is the "substantial similarity" test. In which case, the similarities between the two works need not be literal or exactly identical. It only requires that the works would be perceived as aesthetically close, despite a few disparities, to the ordinary person. Here, LaChapelle likely has valid copyright ownership in the eight photographs. As for the second prong, however, that is up for debate.

Does Rihanna's new video pass the substantial similarity test?  You can decide for yourself. Check out the images here.