HHR New Media, Entertainment and Technology Group

A recent panel discussion at the Copyright Society of the U.S.A. on copyright issues arising from emerging cloud technologies, which was moderated by Dan, was featured in BNA’s Patent, Trademark & Copyright Law Daily.  The panel focused on how the growth of cloud-based distribution platforms and demand for content created novel copyright issues.  As Dan noted, these issues placed in sharp relief copyright holders’ exclusive reproduction and performance rights in their works against  the ability of service providers and consumers to access the works without infringing those rights.  The BNA article can be found here.

It is no surprise that the move to the cloud is in full swing. New methods of content distribution and consumption, coupled with the widespread proliferation of IP-enabled consumer devices, are driving the public’s relentless desire for “any content anywhere”.  The success of Netflix, Hulu, Amazon on Demand, Flickr, and the emergence of novel content authentication and delivery standards like the Digital Entertainment Content Ecosystem’s (DECE) Ultraviolet exemplify the entertainment industry’s investment in and increased reliance on cloud-based distribution platforms and business models. Now, as music makes a similar move to the cloud with the recent emergence of Amazon CloudDrive, Apple’s iCloud and GoogleMusic, stakeholders across all forms of entertainment have officially ent ered the equation. But while cloud integration continues to gain speed in the foreground, a host of new legal issues are emerging in the background as the convergence of new cloud-based storage mechanisms and channels of distribution with entertainment content continues to usher in novel copyright questions for stakeholders to grapple with. At present, the legal questions currently surrounding digital lockers and the “cloudification” of entertainment content are focused primarily on the balance between copyright holders’ exclusive rights to reproduce and publicly perform their works and consumers and service providers ability to make lawful use of such content through emerging technologies, in each instance, without directly or secondarily infringing copyright holders’ rights. Continue Reading »

Turntable.fm is the recently launched online music service that caught the attention of the music industry, music-loving consumers and digital media commentators.  The service enables users to become DJs in a virtual music club divided into multiple rooms, each with enough space for five DJs and an audience of listeners.  The DJs take turns playing songs to the entire room, pulling from a wide catalog that Turntable.fm licenses through MediaNet.  Users then interact with each other, rating the last song played and discussing the music in an in-room chat.  In theory, this interaction guides the flow of the other DJs and helps to shape future music played in the room.

As unique as the service is though, it appears that many of its features were designed and implemented to enable Turntable.fm to operate as a “non-interactive” service under the Digital Millennium Copyright Act (“DMCA”), similar to an internet radio station, thus avoiding the need for direct licenses from the music labels.  For Turntable.fm, the distinction could mean the difference between sustaining a viable business or joining a long line of digital music services that were unable to survive because of the burden of paying license fees to the labels.  While it is too early to determine if this strategy will be challenged and/or whether it will ultimately prevail, Turntable.fm’s service clearly raises some unique legal issues. Continue Reading »

In a decision applauded by webcasters and lamented by the recording industry, the Second Circuit ruled last week that individualized radio stations–such as those offered by LAUNCHcast and Pandora–are not “interactive services” under the DMCA, freeing the webcasters from the potentially massive financial burden of having to pay licensing fees to record labels for the transmission of sound recordings as part of their services.  The decision was the first by a federal court of appeals to examine the hotly-debated issue.

The suit, originally filed in 2001 by several labels owned by Sony BMG, including Arista, Bad Boy and Zomba, alleged that LAUNCHcast, a webcasting service run by Yahoo’s Launch Media unit, which enables users to create “stations” that play songs within a particular genre or similar to a particular artist or song, violated provisions of the DMCA that required payment of licensing fees for the use of sound recordings in an “interactive” service.”  Continue Reading »

One copyright case that owners and licensors of digital content should be following closely in the coming months is the one brought against Universal Music Group by Stephanie Lenz, a Pennsylvania mom who posted a video on YouTube of her young son on a tricycle with Prince’s “Let’s Go Crazy” playing in the background. Universal submitted a DMCA takedown notice claiming that the video infringed its copyright in the Prince song. YouTube immediately removed Lenz’s video.  Lenz was able to get it restored seven weeks after filing a DMCA counter-notification asserting that her video constituted fair use of the song. Lenz then sued Universal for interfering with her legal right to post the video online. Continue Reading »