Showing posts with label copyright. Show all posts
Showing posts with label copyright. Show all posts

Saturday, November 16, 2013

Eva Cassidy profits: another exercise in how not to do it?

The 1709 Blog has posted this note on Straw & Another v Jennings & Others [2013] EWHC 3290 (Ch), a long judgment (369 paragraph) from the Chancery Division of the High Court, England and Wales, by Mr Justice Warren, dating from the beginning of this month.

In this action the claimants, the exclusive licensees of musical recordings of the late American singer Eva Cassidy, claimed £1.6 million from four defendant companies, alleging that they had failed to account for distribution profits owed due under a distribution agreement. The defendants denied the claims and counterclaimed for copyright infringement.

Relatively little of this judgment is taken up by copyright law; the majority deals with the effect of an amended distribution agreement, the nature of the obligation to account for income, identifying the relevant accounting periods, the availability of deductions and sundry related issues.

This blogger continues to be surprised at the extent to which commercial contracts for the licensing of IP rights continue to lack key provisions, requiring one or other party to exercise a good deal of imagination, generally in vain, in trying to persuade a court to imply into it a term which the parties never stated and without which the contract still seems to make reasonable sense.

Wednesday, August 21, 2013

The Recording Industry Has Revenue Growth: The “Sweet Spot” with Licensed Digital Services and New Markets

The International Federation of the Phonographic Industry (IFPI) has released two reports concerning recorded music.  The first is The Recording Industry in Numbers 2013 Report (RIN 2013) and the second is the Digital Music Report 2013.  The RIN 2013 “provides a comprehensive picture of the key trends in today's global music business, with in-depth statistics and analysis . . ..”  Some highlights of the RIN 2013 include:

·         Overall global recorded music trade revenuesincreased by 0.2% in 2012, the first year of growth since 1999. All the revenue streams IFPI tracks (physical, digital, performance rights and synchronisation revenues), with the exception of physical sales, increased in 2012. A total of 21 countries saw market growth in 2012, including nine of the top 20 markets.

·         The world's top 20 markets table shows that the US remains the world's largest music market; digital sales success in Sweden has made that country the world's 12th largest music market (up two places on 2011); India has also moved up the rankings.

·         Digital channels now account for 35% of overall industry trade revenues, while physical sales now represent 57% of record companies' income. Downloads remain the biggest source of digital revenues, with combined unit sales of track and album downloads up by 11% in 2012.

·         Music subscription services are seeing rapid growth. Music subscription and ad-supported streaming services now account for 20% of digital revenues globally, up from 14% in 2011. Subscription and ad-supported revenues combined now account for almost one third (31%) of all digital music revenues in Europe.

·         Emerging markets are helping fuel the industry's recovery. Brazil, India and Mexico have seen market growth respectively of 24%, 42% and 17% since 2008. In 2012 revenues in India reached an all-time high while Latin America was the fastest growing region of the year.

·         Albums continue to hold their appeal, accounting for 56% of recorded music sales value. Digital album downloads grew faster than singles and vinyl sales hit their highest point since 1997. Consumer usage on streaming services shows that the album format remains very relevant. Many of the year's best-selling albums generated a large streaming volume across all tracks included on the album.

·         Sources of music licensing income are also on the rise. Performance rights revenues (from broadcasts and public performance) were the fastest growing sector in the recording industry in 2012, accounting for 6 per cent of recorded music revenues. Revenues grew by 9.4% globally, to US$943 million. Income from synchronisation deals - music used in TV adverts, films and brand partnerships - were also up. These grew by 2.1% to US$337 million in 2012.

The Digital Music Report 2013 highlights include:

·         Download sales increased in volume by 12 per cent globally in 2012 and represent around 70 per cent of overall digital music revenues

·         The number of people paying to use subscription services leapt 44 per cent in 2012 to 20 million. Subscription revenues are expected to account for more than 10 per cent of digital revenues for the first time in 2012.

·         Digital channels account for the majority of record companies' income in an increasing number of markets including India, Norway, Sweden and the US

·         Digital retailers' rapid global expansion is opening up the potential for markets such as Brazil and India, to become major sources of future industry growth. At the start of 2011, the major international services were present in 23 countries. Two years later, they are in more than 100 countries.

·         Digital music consumption has become mainstream, as shown by consumer research by Ipsos MediaCT across nine markets in four continents. Two-thirds of internet users (62%) have used a licensed digital music service in the past six months. Among younger consumers (aged 16-24) this figure jumps to 81 per cent.

·         Consumer satisfaction with licensed music services is demonstrably high. 77 per cent of users of licensed services rate them as excellent, very good or fairly good. Even 57 per cent of those who use unlicensed services believe "there are good services available for legally accessing digital music."

·         Many non-digital revenue channels are also increasing. Performance rights income increased in value by an estimated 9.2 per cent in 2012 and now accounts for around 6 per cent of overall industry revenues, up from 3 per cent in 2007.

·         Album charts in most markets show that investment in local repertoire is alive and well. In many countries, local repertoire accounts for the vast majority of the top selling albums of the year. Five major non-English language markets illustrate this. In Italy, Spain and Sweden, eight in 10 of the top selling albums of 2012 were by local artists; in Germany, seven in 10, and in France six in 10.

The RIN 2013 is available for purchase here.  The Digital Music Report 2013 is available here.  It looks like the recording industry has overcome or, at least, is on the path to overcoming, its struggles—the first actual revenue growth since 1999!  Impressive.

Thursday, April 11, 2013

3-D Printing Fun or Massive IP Infringement

Recently, co-blogger Neil Wilkof wrote about 3-D printing.  The promise of 3-D printing is astounding and could be the next technology that changes the game in many different industries/fields—from biotech to ordinary manufacturing.  And, as with any new technology, there are a ton of IP issues.  I spent some time browsing this website the other day: www.thingiverse.com.  I strongly recommend you check it out.  Here is the description of Thingiverse:

Thingiverse is a place for you to share your digital designs with the world. We believe that just as computing shifted away from the mainframe into the personal computer that you use today, digital fabrication will share the same path. In fact, it is already happening: laser cutters, cnc machines, 3D printers, and even automated paper cutters are all getting cheaper by the day. These machines are useful for a huge variety of things, but you need to supply them with a digital design in order to get anything useful out of them. We're hoping that together we can create a community of people who create and share designs freely, so that all can benefit from them.

Click on the “Explore” “button” at the top of the home page and spend some time browsing (You will enjoy it—I promise).  Here is a link to their IP policy and here is one to the terms of use.  Enjoy!  (Is it really time to rework (rethink) copyright (IP) law or do we stay the course?!?!  I think either way--the lawyers will win!!!). 

Wednesday, April 3, 2013

Piracy a Good Thing for Value? The Game of Thrones.


George RR Martin’s Game of Thrones is a wildly popular fantasy tale.  The HBO television series Game of Thrones has even eclipsed the popularity of Martin’s books and is apparently the most pirated television show ever.  I’ve only read part of the first book, but based on that reading the television series is an excellent retelling of the book (and at least for the part that I read the television series may be even better than the book).  In the United States, the first episode of the second season premiered on HBO last Sunday night.  Apparently after the airing of the episode and within a day, TorrentFreak reports that there were a million downloads of the show.  This is apparently a record.  TorrentFreak explains that one of the reasons for the number of downloads (besides popularity and avoiding paying to view it by subscription) is that there is a delay in releasing the show to markets outside the US.  This explanation seems to be bolstered by the fact that the leading downloading country is Australia and the leading downloading city is London.  Does the access by BitTorrent hurt HBO’s bottom line or not?  The Washington Post, the Public Broadcasting Service and CNN explore the issues.  According to some, the piracy may “generate a buzz” about the product—this may help promote the product and generate sales such as DVDs if it doesn’t generate subscriptions to HBO.  Some producers may be willing to pay handsomely for such buzz amongst their fans although not by allowing piracy (but see end user license agreements by Microsoft and Blizzard that allow some machinima and discussion about them here and here).  Suing your fans seems like a bad idea to me.  There is also a point, raised by someone at HBO, that piracy didn’t impact DVD sales.  And, of course, just because someone views something illegally doesn’t mean that they’d buy the real deal instead (but they may buy a real deal like the DVD or go see the eventual Game of Thrones movies—maybe those movies will be crowdfunded (doubtful)?).  And, Mike Rugnetta at the Public Broadcasting Service (remember Big Bird’s channel and Romney’s non-friend) has an interesting video about piracy helping the Game of Thrones here 
Someone important recently said something about copyright owners not having the right under the US Constitution to divide markets to maximize profit—is that a sign of the law catching up to the disruptive change of reality?  Access (Creation) is important, but an important question is who gets access and when (can we all be insiders at the same time?).  How much is the game changing?  Is winter coming?  Or must we pay the iron price?  Must we always pay our debts?  Maybe all of the above?  What do you think?

Thursday, March 28, 2013

The LOTR and the One Armed Bandits: Part I

I love J.R.R. Tolkien’s Lord of the Rings and the Hobbit.  I’ve loved the books since I was a child and I love the movies as an adult.  I am sure there are other fans who love LOTR and the Hobbit more than me, but I am at least in the class of persons who owns multiple copies of the books, purchases tickets to the movies, buys the DVDs when they are released, purchases the DVDs that include the extended versions of the movies, and buys the video games based on the movie.  I am not in the class of fans that follows litigation concerning the LOTR and am thankful for LK Shield’s Deirdre Kilroy’s lead to this litigation.


On November 19, 2012, Fourth Age Limited, trustee for the Tolkien Trust, J.R.R. Tolkien Estate Limited, Harper Collins Publishers and others filed a complaint for: (1) Copyright Infringement; (2) Breach of Contract (3) Declaratory Relief -- Gambling Games and Downloadable Games; and (4) Declaratory Relief --Trademarks Service Marks and Services Licensing in Federal court, in the Central District of California (Los Angeles is located in the Central District), against Warner Brothers Digital Distribution, New Line Productions, Saul Zaentz Company d/b/a Middle-earth Enterprises, and others.   (Zaentz recently filed a counterclaim, which I’ll hopefully discuss soon).
The suit essentially revolves around the interpretation of a clause concerning merchandising rights in a 1969 license covering the film rights.  The complaint states that:
Specifically, defendants' predecessors-in-interest obtained the limited right to use the characters, places, objects and events referred to in The Lord of the Rings and The Hobbit "solely and only upon and in connection with the manufacture, sale and distribution of ... any and all articles of tangible personal property, other than novels, paperbacks and other printed published matter..." . . .  The original contracting parties thus contemplated a limited grant of the right to sell consumer products of the type regularly merchandised at the time (such as figurines, tableware, stationery items, clothing, and the like). They did not include any grant of exploitations such as electronic or digital rights, rights in media yet to be devised or other intangibles such as rights in services. To emphasize the limited nature of the grant, plaintiffs' predecessors-in-interest specifically reserved "the right to utilize and/or dispose of all rights and/or interests not herein specifically granted."
The Defendants apparently gave permission to a company that produces gaming equipment and more specifically slot machines to produce slot machines and an online game.  And, according to the complaint, many fans are not happy about this development—very unhappy.   Many also know that the LOTR and the Hobbit are viewed as incorporating Christian and Catholic meaning, but what does that mean (particularly with respect to IP claims)?  As a fan, I must say that I am not outraged, but which fans matter?  Other works of art have been apparently licensed to produce gambling devices such as the Wizard of Oz’s The Great and Powerful Oz slot machine.  (or is that fundamentally different because someone would create a Wizard of Oz slot machine?)  I can understand, of course, how the Plaintiffs want to protect the image associated with its brand and how other fans are upset; however, I am not sure that an argument that is essentially “we never would have agreed to allow this type of merchandising because it would upset our fans and is inconsistent generally with the merchandising of great works of art” is always true? Although once the court sorts out the trademark rights in the license in favor of the Plaintiffs, then Defendants and their licensees will cease selling slot machines and other gambling devices under the trademarks.  The fourth claim for declaratory relief states:
a. For a declaration that defendants do not have the right to license or exploit any services in any categories, nor the ability to register, use or exploit service marks in any categories in connection with The Lord of the Rings and/or The Hobbit; and

b. for a declaration of the parties' respective rights and obligations under the Merchandising License as they relate to the registration and/or use of Lord of the Rings and/or Hobbit-related trademarks and/or service marks and/or the ability to license or exploit services.
Is the value of the brand hurt by licensing the production of gambling devices?  I suppose it depends on the nature of the work, but from who’s perspective?  The LOTR is relatively violent.  What do you think?

Tuesday, March 19, 2013

More Thrift Shop Access or More Axcess: First Sale and the US Supreme Court’s opinion in Kirtsaeng v. John Wiley & Sons, Inc.

Today the US Supreme Court issued its much anticipated opinion in Kirtsaeng concerning application of the first sale doctrine.  Ms. Rosati at the IPKAT website has covered the opinion here.  I found a couple of portions of the opinion very interesting (although it will take some time to digest all of the opinions fully).  The first part concerns part of the Supreme Court’s use and analysis of some of the amicus briefs.  The second part concerns its analysis of the issue in the case in relation to the US Constitution’s Progress clause.  Here is the first part:

The “first sale” doctrine is a common-law doctrine with an impeccable historic pedigree. In the early 17th century Lord Coke explained the common law’s refusal to permit restraints on the alienation of chattels. Referring to Littleton, who wrote in the 15th century, Gray, Two Contributions to Coke Studies, 72 U. Chi. L. Rev. 1127, 1135 (2005), Lord Coke wrote:
“[If] a man be possessed of . . . a horse, or of any other chattell . . . and give or sell his whole interest . . .therein upon condition that the Donee or Vendee shall not alien[ate] the same, the [condition] is voi[d], because his whole interest . . . is out of him, so as he hath no possibilit[y] of a Reverter, and it is against Trade and Traffi[c], and bargaining and contracting betwee[n] man and man: and it is within the reason of our Author that it should ouster him of all power given to him.” 1 E. Coke, Institutes of the Laws of England §360, p. 223 (1628).
A law that permits a copyright holder to control the resale or other disposition of a chattel once sold is simi- larly “against Trade and Traffi[c], and bargaining and con- tracting.” Ibid.
With these last few words, Coke emphasizes the importance of leaving buyers of goods free to compete with each other when reselling or otherwise disposing of those goods. American law too has generally thought that competition, including freedom to resell, can work to the advantage of the consumer. See, e.g., Leegin Creative Leather Products, Inc. v. PSKS, Inc., 551 U. S. 877, 886 (2007) (restraints with “manifestly anticompetitive effects” are per se illegal; others are subject to the rule of reason (internal quotation marks omitted)); 1 P. Areeda & H.Hovenkamp, Antitrust Law ¶100, p. 4 (3d ed. 2006) (“[T]he principal objective of antitrust policy is to maximize consumer welfare by encouraging firms to behave competitively”).
The “first sale” doctrine also frees courts from the administrative burden of trying to enforce restrictions upon difficult-to-trace, readily movable goods. And it avoids the selective enforcement inherent in any such effort. Thus, it is not surprising that for at least a century the “first sale”doctrine has played an important role in American copyright law. See Bobbs-Merrill Co. v. Straus, 210 U. S. 339 (1908); Copyright Act of 1909, §41, 35 Stat. 1084.  ...
Used-book dealers tell us that, from the time when Benjamin Franklin and Thomas Jefferson built commercial and personal libraries of foreign books, American readers have bought used books published and printed abroad. Brief for Powell’s Books Inc. et al. as Amici Curiae 7 (citing M. Stern, Antiquarian Bookselling in theUnited States (1985)). The dealers say that they have “operat[ed] . . . for centuries” under the assumption that the “first sale” doctrine applies. Brief for Powell’s Books 7. But under a geographical interpretation a contemporary 21 Cite as: 568 U. S. ____ (2013). . . . The dealers say that they have “operat[ed] . . . for centuries” under the assumption that the “first sale” doctrine applies. Brief for Powell’s Books 7. But under a geographical interpretation a contemporary 21 Cite as: 568 U. S. ____ (2013) tourist who buys, say, at Shakespeare and Co. (in Paris), a dozen copies of a foreign book for American friends might find that she had violated the copyright law. The usedbook dealers cannot easily predict what the foreign copyright holder may think about a reader’s effort to sell a used copy of a novel. And they believe that a geographical interpretation will injure a large portion of the used-book business.
Technology companies tell us that “automobiles, microwaves, calculators, mobile phones, tablets, and personalcomputers” contain copyrightable software programs or packaging. Brief for Public Knowledge et al. as Amici Curiae 10. See also Brief for Association of Service and Computer Dealers International, Inc., et al. as Amici Curiae 2. Many of these items are made abroad with the American copyright holder’s permission and then sold and imported (with that permission) to the United States. Brief for Retail Litigation Center, Inc., et al. as Amici Curiae 4. A geographical interpretation would prevent the resale of, say, a car, without the permission of the holder of each copyright on each piece of copyrighted automobile software. Yet there is no reason to believe that foreign auto manufacturers regularly obtain this kind of permission from their software component suppliers, and Wiley did not indicate to the contrary when asked. See Tr. of Oral Arg. 29–30. Without that permission a foreign car owner could not sell his or her used car.
Retailers tell us that over $2.3 trillion worth of foreign goods were imported in 2011. Brief for Retail Litigation Center 8. American retailers buy many of these goods after a first sale abroad. Id., at 12. And, many of these items bear, carry, or contain copyrighted “packaging, logos, labels, and product inserts and instructions for [the use of] everyday packaged goods from floor cleaners and health and beauty products to breakfast cereals.” Id., at 10–11. The retailers add that American sales of more traditional copyrighted works, “such as books, recorded music, motion pictures, and magazines” likely amount toover $220 billion. Id., at 9. See also id., at 10 (electronic game industry is $16 billion). A geographical interpretation would subject many, if not all, of them to the disruptive impact of the threat of infringement suits. Id., at 12.
Art museum directors ask us to consider their efforts to display foreign-produced works by, say, Cy Twombly, René Magritte, Henri Matisse, Pablo Picasso, and others. See supra, at 10 (describing how §104 often makes such works “subject to” American copyright protection). A geographical interpretation, they say, would require the museums to obtain permission from the copyright owners beforethey could display the work, see supra, at 15—even if the copyright owner has already sold or donated the work toa foreign museum. Brief for Association of Art Museum Directors et al. as Amici Curiae 10–11. What are the museums to do, they ask, if the artist retained the copyright, if the artist cannot be found, or if a group of heirs is arguing about who owns which copyright? Id., at 14.
These examples, and others previously mentioned, help explain why Lord Coke considered the “first sale” doctrine necessary to protect “Trade and Traffi[c], and bargaining and contracting,” and they help explain why American copyright law has long applied that doctrine. Cf. supra, at 17–18.
The second interesting part contains language that may spawn a hundred law review articles by interested parties:
The Constitution describes the nature of American copyright law by providing Congress with the power to“secur[e]” to “[a]uthors” “for limited [t]imes” the “exclusive [r]ight to their . . . [w]ritings.” Art. I, §8, cl. 8. The Founders, too, discussed the need to grant an author a limitedright to exclude competition. Compare Letter from Thomas Jefferson to James Madison (July 31, 1788), in 13Papers of Thomas Jefferson 440, 442–443 (J. Boyd ed. 1956)(arguing against any monopoly) with Letter from James Madison to Thomas Jefferson (Oct. 17, 1788), in 14 id., at 16, 21 (J. Boyd ed. 1958) (arguing for a limited monopoly to secure production). But the Constitution’s language nowhere suggests that its limited exclusive right should include a right to divide markets or a concomitant right to charge different purchasers different prices for the same book, say to increase or to maximize gain. Neither, to our knowledge, did any Founder make any such suggestion. We have found no precedent suggesting a legal preference for interpretations of copyright statutes that would provide for market divisions. Cf. Copyright Law Revision, pt. 2, at 194 (statement of Barbara Ringer, Copyright Office) (division of territorial markets was “primarily a matter of private contract”). [EMPHASIS ADDED BY BLOGGER]
To the contrary, Congress enacted a copyright law that (through the “first sale” doctrine) limits copyright holders’ability to divide domestic markets. And that limitation is consistent with antitrust laws that ordinarily forbid market divisions. Cf. Palmer v. BRG of Ga., Inc., 498 U. S. 46, 49–50 (1990) (per curiam) (“[A]greements between competitors to allocate territories to minimize competition are illegal”). Whether copyright owners should, or should not, have more than ordinary commercial power to divide international markets is a matter for Congress to decide. We do no more here than try to determine what decision Congress has taken.
So, here is the extra-special language again: “But the Constitution’s language nowhere suggests that its limited exclusive right should include a right to divide markets or a concomitant right to charge different purchasers different prices for the same book, say to increase or to maximize gain.”  Yikes! (Monsanto Sweating?)
Notwithstanding that it is not entirely on point, it is kinda close and very amusing: [Disclaimer: Explicit Lyrics].

Sunday, March 3, 2013

Quantifying maximum benefits of law reforms: questions about Hargreaves

Veteran copyright and information science expert Professor Charles Oppenheim has keen keeping an eagle eye on the predicted benefits of the promised/threatened UK digital copyright reforms outlined in the hastily-conceived and even more hastily-composed Digital Opportunity (the Hargreaves Review, which you can read all about on its very own web page here). Apparently questions have been asked in the House of Commons:
""John Whittingdale (Maldon, Conservative [and Chairman of the All Party Parliamentary Intellectual Property Group]) asked Secretary of State Vince Cable MP why the estimates of maximum financial benefits from the implementation of the Hargreaves Report have been cut, following on from the news that the revaluation had brought the gains down from £27 billion to to £790 million through the Modernising Copyright plan.

Jo Swinson (East Dunbartonshire, Liberal Democrat), responding, stated that the reason for the reduction in net gains to the British economy is due to the fact that Modernising Copyright does not contain the creation of the single EU patent or the Digital Copyright Exchange (DCE)".
Comments Charles:
"REALLY? Are the single European patent and the DCE going to be that valuable to the UK economy (and over what period?) I'm amazed!".
Comments this blogger (who shares Charles's amazement), what does the new patent package have to do with the valuation of the benefits of a new digital copyright regimes anyway?  He also thinks that the real reason why the DCE will not confer vast value on the British economy is that most digital products are ripe for being exploited globally via the internet, while the DCE can hardly confer benefits that extend beyond the jurisdiction.

Wednesday, January 9, 2013

An Interesting Idea: Business Software Alliance Bounty System for Policing and Enforcing IP

The Business Software Alliance wants you!  BSA is offering an End User Reward Program.  Basically, if you report “software piracy” to the BSA, and the BSA investigates and determines piracy exists then you may receive an award.  The BSA defines piracy as: “Unauthorized copying or distribution of copyrighted software; Purchasing one single copy of software and installing it on multiple computers; and Copying, downloading, sharing, selling or installing multiple copies onto personal or business computers is software theft.”  If you submit a piracy report to the BSA, your information is apparently kept confidential.  If you plan to participate, I suggest you read the terms carefully.  Here is the data on award fees which is apparently calculated based on settlement amount:
Reward Payment Guidelines
Settlement paid by Company
Potential Reward payment
$15,000 - $100,000
Up to $5,000
$100,001 - $200,000
Up to $10,000
$200,001 - $400,000
Up to $20,000
$400,001 - $600,000
Up to $30,000
$600,001 - $800,000
Up to $40,000
$800,001 - $1,000,000
Up to $50,000
$1,000,001 - $2,000,000
Up to $100,000
$2,000,001 - $3,000,000
Up to $150,000
$3,000,001 - $5,000,000
Up to $250,000
$5,000,001 - $10,000,000
Up to $500,000
$10,000,001 - $15,000,000
Up to $750,000
Over $15,000,000
Up to $1,000,000


Is this a good idea?  Are there other similar programs? 


Tuesday, June 23, 2009

Software: Precautions Against Supplier Insolvency

What would you do if the supplier of your critical systems went insolvent?

In times of economic uncertainty, industries associated with software and technology services are highly likely to suffer. They are heavily reliant on solvent customers themselves, and on those with a sufficient degree of disposable budget to spend on non-essential work, such as software developments and updates (as opposed to rent, bills, wages, etc...). If the software companies are vulnerable, so too are their clients; and -- like it or not -- almost every business is the client of a software company.

Computer software is commonly used and found in most businesses and for every software program there is a source code without whch the software cannot be sold. Importantly this code enables the software to be revised and maintained. Source code is mostly protected by copyright.

Software may be developed by a third party for a client exclusively, or it may be licensed. More often than not it is leased or purchased ‘off the shelf’ and not owned by the business using it. As most of a business’s software is licensed, it will not be transferable and it will probably not available for assignment by the official receiver as liquidator or trustee. Further, as discussed in my previous articles [see note on Tuesday articles in the right hand side-bar], companies should be aware that the official receiver can disclaim onerous property under the Insolvency Act 1986; and that includes licences which may be a critical part of your business.


“But wait”, I hear you say “I own the IP in my software because it was developed for me. That means I’m safe doesn’t it?”. Not necessarily; even when bespoke software is developed exclusively for a company, the software company may still own the IP rights to some or all of the code behind the product. In such circumstances the official receiver should consider the agreement entered into with the supplier in light of both restrictions on assignments and the ownership of copyright. If a software supplier has 'invented' the software for the insolvents use it is likely that they will own it and not the insolvent.

If the software has been developed within the business this may give rise to problems as the individual designing the software may be a contractor rather than an employee. If that is the case the agreements by which that contractor is engaged should be carefully examined to determine who owns any IP rights created.


As a business you should establish at a minimum: (1) who holds the IP rights for your critical software; and (2) where would you find that source code should the company that developed it go bust. Number 2 is easier said than done. The owners or creators of software should not be relied upon to provide information on the location of software they have developed for you after they have gone into liquidation and it is unlikely that the official receiver will know where to begin.

One way of ensuring you know exactly where your code is and how to get to it is to have an escrow agreement built into any software agreement you enter into. Escrow agreements allow code (and other property) to be held upon agreement of the parties by a neutral third party. Code subject to the agreement will they only be released according to the agreement upon the fulfilment of its terms.

You should ensure that the conditions which stipulate the release of source code are looked at in order to determine when and in what way they can be enforced. You should also ensure the agreement allows the beneficiary to request a third party verify the code subject to the escrow is complete and this right should be exercised! You may view verification as an unnecessary expensive, but it can be invaluable. If the escrowed code is defunct it is essentially worthless and by the time you find out it is worthless, the liquidated company may not be in a position to help you locate the correct code.

Many businesses value critical transactions and contracts by value. However, this can be fatal when reviewing your software contracts for criticality. You may find that a critical software package that controls you payment systems cost almost nothing to develop, but consider for a moment wht would happen if that software stopped working and the company which developed it went into liquidation; it may have huge knock-on consequences to your business revenue.

In fact a low value contract is likely to be related to a smaller vendor and smaller vendors are more likely to be impacted by the economic downturn and have insufficient safety mechanisms when they do. Therefore your low value contracts may be the critical ones when reviewing your software safeguards in the economic downturn.

So it is not just the criticality of your contracts that you should be managing; you should also ensure that you are aware of the financial state of your suppliers. This way you can direct your resources to deal with the suppliers controlling your critical IP that are financially exposed.

Before a company goes into liquidation, look out for the warning signs that they are in trouble. For instance, has there been a drop in service provided by the company to your business? Have their accounts and annual returns been posted late? In times of financial difficulty, the accounts department will often be distracted by other pressures and overlook accounts filing deadlines. Often when a business is getting into financial difficulty, VAT and PAYE/NIC payments are regularly made late as available cash is being used to pay suppliers to keep the business running. In such cases HMRC will often apply for a business to be wound up if crown debts are continually left unpaid. To protect your interests make sure that if you are aware your supplier of software may go bankrupt ensure you follow the company closely and involve yourself in the insolvency proceedings.

And finally, a note to those dealing with insolvent companies. It has recently been reported that former employees of Factor 5 Inc in the US, who declared Chapter 7 bankruptcy in May, are being sued by former employees for fraudulently hiding assets before declaring bankruptcy in order to avoid paying employees and other debtors. The company ran into trouble when Brash Entertainment, whom it had signed a publishing deal, fell victim to its own financial difficulties and went under, which ended funding for Factor 5's project and eventually forced it to close down as well. The suit alleges that prior to the bankruptcy, the founders of Factor 5 created a new company called Blue Harvest, to which they "fraudulently transferred assets, including source code and other intellectual property," including a partially-completed version of Star Wars: Rogue Squadron for the Wii. It is alleged in the complaint that Factor 5 and White Harvest are essentially the same company. When dealing with an insolvent's estate it may be worth checking, have the rights to code and other IP rights been transferred ‘on mass’ just prior to liquidation? This is easy enough to see when directors transfer houses to their spouses, but may not be as apparent with unregistered rights such as copyright.


Tomorrow I’ll be popping along to give a talk at Winston & Strawn’s Bootlaw Session with my colleague Ian Silcock from Hardwicke Building. It’s free of charge to attend and if you would like further details you can have a look at Bootlaw’s Meet Up page.

Tuesday, June 16, 2009

What is the (Copy)right way to Maximise IP Rights upon Insolvency?

When a company associated with the arts goes into liquidation it is easy to think of their copyright works as some of the most valuable potential assets in their portfolio. But with the cost of registered IP rights out of the reach of many smaller start-up, technology-rich businesses, copyright is increasingly used as a cheaper alternative to traditional registered IP Rights. There are potentially hundreds of ‘works’ that might vest in a company that could be sold to the highest bidder. For instance, the liquidated company may have a wealth of tender documents, developed and built up over a number of years, the format of which could be sold to a former competitor. As a result, anyone dealing with a company facing liquidation should be mindful that there may be a number of copyright works that are valuable assets that can be easily overlooked in favour of its more easily identifiable IP rights like trade marks and patents.

Copyright as an asset

Copyright is property and, by virtue of s.283 and s.306 of the Insolvency Act 1986 (“IA 1986”), any work created by an insolvent prior to the making of an insolvency order vests in the liquidation estate or trustee of the bankruptcy estate, subject to certain exclusions relating to the creation of copyright works. For instance s.11 of the Copyright, Designs and Patents Act 1988 (“CDPA 1988”) provides that, subject to any agreement to the contrary, the author of the work is the first owner of any copyright subsisting in it (except where the work is created by an employee during the course of employment when, unless otherwise agreed, the ownership passes to the employer). And, by virtue of s.145 IA 1986 and Schedule 4A, copyright can pass to a company in liquidation or a bankrupt on the same basis, i.e., if the liquidated company still has employees. S.307 IA 1986 is also a useful provision as it states that the copyright relating to a work created by a person whilst in bankruptcy may be claimed by the trustee as after-acquired property. Again, this is subject to the exceptions relating to works created in the course of employment.

When the copyright of an insolvent vests in the liquidation estate, the copyright can be sold and the assignment signed by the liquidator as assignor. If the insolvent is a licensee and owes outstanding royalties to the author the liquidator may still, subject to the terms of the original assignment, sell the copyright licence with the outstanding royalties being a provable debt in the insolvency.

Royalties

Royalties may be paid by a publisher or other organisation under licence to the copyright owner in exchange for exploitation of that right, with the owner retaining the copyright.

In circumstances where a winding up order is made against the owner of a copyright, the official receiver should try to make contact with the publisher or other organisation paying the royalties to ensure they pay any future royalties directly to the liquidator.

It may be the case that the copyright itself does not vest in the liquidated company but the liquidated company is entitled to royalties. If so these payments should be treated as income and can be claimed under an income payments agreement or an income payments order. If a liquidated company is in receipt of royalties as a condition of the sale of a copyright, it should be noted that royalties are treated as income for corporation or income tax purposes and cannot be claimed as an asset.

Assignment and licensing of copyright

Copyright is an asset that can be freely transferred by assignment, disposition under a will, or by operation of law as personal property (s.90(1) CDPA 1988). S.90 CDPA requires assignments to be in writing, and failure to ensure that the assignment is effected in writing can undermine the validity of the transaction. S.92 CDPA provides that a copyright owner who does not wish to transfer the copyright outright, may instead choose to licence its use. But whilst there are no requirements for licences to be in writing, an exclusive licensee will have no right to sue infringers unless it is signed by the owner of the copyright in issue.

Sale of a copyright licence

A company in liquidation may hold a licence in respect of a work subject to copyright. Depending upon the terms of the licence (and upon the availability of any potential buyers) it may be possible to sell the licence as an asset in the insolvency. Often though, the licensee may have been chosen specifically for their personal skill or reputation and this may make the licence agreement one of a personal nature, which cannot be transferred or sold.

It has been decided that an author may have a personal contract with a company notwithstanding that the constitution of the company or its directors may change (Griffith v Tower Publishing Co Ltd (1897) 1 Ch 21). Where an author is to be paid either by a share of profits or royalties, it is likely to be assumed by the courts, in the absence of contrary evidence, that the payment of the author by share of profits or royalties indicates that the agreement was intended to be of a personal (and therefore non-assignable) nature. Alternatively, if the author was instead paid a fixed sum, the opposite may be assumed and it is much more probable that the publisher would have the right to assign the agreement. Licenses which are not of a personal nature may be assigned.

In circumstances where the official receiver wishes to sell a licence a copy of the original agreement to establish the nature of the licence and whether or not it is realisable should be obtained.

Disclaimer of copyright

Returns relating to copyright licensing or exploitation are often very low and, obviously, unpublished works will generate no royalties at all. Unless the work is a real hit the returns are likely to be minimal and In these circumstances it may be appropriate for the official receiver to consider disclaiming any interest in the copyright as onerous property (s.178 and 315 IA 1986). Particularly when it is considered that copyright can continue for 70 years after the death of the author and would have to be administered for a long period.

Monday, March 23, 2009

Is Choruss out of tune?

In July 2008 IP Finance posted this item ("Music recordings: the Lincoff model"). Last week the same author returns to the theme in a well-reasoned piece that was published on the well-regarded IP Watch weblog, "Choruss’s Covenant: The Promised Land (Maybe) For Record Labels; A Lesser Destination For Everyone Else".   I don't feel sufficiently confident to comment on an issue which has "Made in America" stamped right through it, though I do feel that the Choruss model, if successful in the States, will be closely examined as a model for European campuses too.  Readers' comments, please!

Choruss' Music Tax Plan: Bait and Switch here
The Licensing Plate carries Jim Griffin's explanation of Choruss here

Saturday, November 29, 2008

The Music World: More than Copyright and Licenses

In thinking about the music world, we usually divide it into two parts. There are the lofty heights of musical creation (aka copyright), on the one hand, and the less elegiac world of commercial exploitation (aka licensing), on the other. Listening today to a podcast on the life and works of Duke Ellington, the legendary US composer and orchestra leader, reminded me that there is an essential space in the music world that bridges copyright and licensing, in which neither copyright law nor unabashed commercial considerations prevail.

The podcast about Duke Ellington was one in a regular series--"Jazz Profiles"-- produced by the U.S. National Public Radio, and it took me back 40 years to a smallish hall in New Haven, Connecticut, where this author, as a college student arriving from the wilds of the American Southwest, somehow found himself at a concert given by the Duke Ellington Orchestra. It was one of the unforgettable experiences where musical legend was melded with the musical experience of the moment, and the memory of that evening provided the impetus for my jazz odyssey from that time to the present.

What struck me in the podcast was a brief description of two aspects in connection with Ellington's musical creations, particularly in the 1930s and 1940s. The first aspect was an observation that, at that time, Ellington preferred not to reduce at least some of his musical compositions to writing, for fear that it would ease the task of would-be imitators. So he urged his orchestra members to memorize the musical work at hand.

In other words, Ellington had turned copyright on his head, seemingly using trade secrets to try and protect at least some of his musical works. What an interesting notion--musical as artistic confidence. Reverse engineer my musical creation, if you like!

Try to reverse-engineer this!

The second aspect addressed the complex relationship between Ellington and his orchestra members about their role in the composition of his works. Apparently, Ellington made liberal use of the musical input of his musicians, usually without adding them as "co-composers" of the resulting work. According to the podcast, some grumbled, some settled for monetary compensation, and some seemed to receive credit of some kind.

We can teach students all we want about copyright ownership and attribution, but the reality of how ownership and attribution play out reveals a degree of complexity that pure law cannot capture. This is especially so when music becomes more of a collective activity, where the composer is also the arranger and also the orchestra leader. The genius of 18th and 19th century composer gives way to more complicated relationships between multiple actors in the creation and performance of music. In that space, neither copyright nor licensing is fully informing.

Tuesday, July 22, 2008

European Commission undermines copyright assumptions

According to the European Commission's press release IP/08/1165 last week, the European Commission is ordering 24 European copyright collecting societies to stop restricting competition by limiting their ability to offer their services to authors and commercial users outside their domestic territory, while still letting them keep (i) their current system of bilateral agreements and (ii) their right to set levels of royalty payments due within their domestic territory. Says the press statement,

"The prohibited practices consist of clauses in the reciprocal representation agreements concluded by members of CISAC (the "International Confederation of Societies of Authors and Composers") as well as other concerted practices between those collecting societies. The practices infringe rules on restrictive business practices (Article 81 of the EC Treaty and Article 53 of the EEA Agreement). The Commission decision requires the collecting societies to end these infringements by modifying their agreements and practices, but does not impose fines. The removal of these restrictions will allow authors to choose which collecting society manages their copyright (e.g. on the basis of quality of service, efficiency of collection and level of management fees deducted). It will also make it easier for users to obtain licences for broadcasting music over the internet, by cable and by satellite in several countries from a single collection society of their choice.

Competition Commissioner Neelie Kroes said: "This decision will benefit cultural diversity by encouraging collecting societies to offer composers and lyricists a better deal in terms of collecting the money to which they are entitled. It will also facilitate the development of satellite, cable and internet broadcasting, giving listeners more choice and giving authors more potential revenue. However, the Commission has been careful to ensure that the benefits of the collective rights management system are not put into question in terms of levels of royalties for authors and available music repertoire."

Music authors (lyricists and composers) sign over to collecting societies the rights to manage on their behalf, worldwide, the copyright of their musical works. Based on the CISAC model contract, collecting societies have concluded reciprocal representation agreements for the collective management of the public performance rights of their musical works so that they can each offer the repertoire of all the artists represented by all the collecting societies participating in the representation agreements. The public performance rights enable authors of musical works to authorise or prohibit the exploitation of their works by commercial users such as TV channels and radio stations, and to receive royalties every time their music is played.
The Commission opened an investigation following complaints from broadcasting group RTL and Music Choice, a UK online music provider.

The Commission's decision recognises the valuable role of collecting societies and does not challenge the existence of the reciprocal representation agreements. It does, however, prohibit certain aspects of those agreements as well as concerted practices among collecting societies.

In particular the decision requires the 24 EEA-based collecting societies which are members of CISAC to no longer apply:
* the membership clause, currently applied by 23 collecting societies, that prevents an author from choosing or moving to another collecting society.
* territorial restrictions that prevent a collecting society from offering licences to commercial users outside their domestic territory. These territorial restrictions include an exclusivity clause, currently contained in the contracts of 17 EEA collecting societies, by which a collecting society authorises another collecting society to administer its repertoire on a given territory on an exclusive basis and a concerted practice among all collecting societies resulting in a strict segmentation of the market on a national basis. The effect for a commercial user such as RTL or Music Choice that wants to offer a pan-European media service is that it cannot receive a licence which covers several Member States, but has to negotiate with each individual national collecting society.

The decision will allow collecting societies to compete on the quality of their services and on the level of their administrative costs (which are deducted from the money collected before it is passed on to the author). It will thus provide incentives to collecting societies to improve their efficiency.

In 2007 the Commission sought to resolve the case amicably when formal commitments were offered by CISAC and 18 collecting societies (see IP/07/829). However, interested parties' comments on the commitments were negative. In particular, broadcasters, content providers and certain collecting societies generally considered that the proposed commitments would continue to make it difficult for a commercial user to obtain a pan-European licence.

See also MEMO/08/511".

CISAC has issued its strongly negative response to the Commission's ban in the following terms:
"CISAC regrets a recent Decision of the European Commission which targets 24 authors’ societies in the European Economic Area. The Decision concerns the reciprocal representation contracts existing between those societies for certain exploitations of musical works via the internet, satellite and cable.

The membership issue raised by the Commission has been overtaken by events a long time ago. The interests of the individual creator lie at the heart of collective administration. The principle that creators are free to join whatever society they choose is therefore already well established and widely applied by societies throughout the EEA. As for the issue of exclusivity, the EEA societies have accepted for decades that contracts between them should be based on non-exclusive arrangements.

CISAC’s main disappointment with the Decision, however, lies in the way in which the Commission has responded to the territorial delineations within societies’ reciprocal representation contracts. Whilst it is true that the Decision’s approach to territoriality will inevitably lead to a catastrophic fragmentation of repertoire and therefore to legal uncertainty for music users, it is the Commission’s assertions that the Decision is somehow in the creative community’s interest which has been of particular surprise to CISAC.

Loudly and clearly (but apparently to no avail), the creative community has told the Commission that the community remains deeply concerned about a Decision which claims to act in the name of creators but which in fact is being imposed on them against their express wishes. Time and time again, the creator has pleaded that the Commission’s proposed course of action will lead to a calamitous decline in artistic creation, cultural diversity and creators’ income.

CISAC and its members continue to count the full costs of the Commission’s decision - not just on the world’s 2.5 million creators whose interests have been jeopardised by the Commission’s stance on territoriality, but also on users".

Sunday, July 6, 2008

Music recordings: the Lincoff model

The excellent Intellectual Property Watch weblog carries a lengthy feature by Bennett Lincoff (right), "Inside Views: A New Business Model For The Music Industry Explained". This feature, which is itself based on a longer work (a 64 page article), succinctly describes the current problem facing the recording industry. Having outlined the status quo, Mr Lincoff proposes as follows:

"I suggest that lawmakers aggregate the rights of songwriters, music publishers, recording artists and record labels in their respective musical works and sound recordings and create a single right for digital transmissions of recorded music. The digital transmission right would replace the parties’ now-existing reproduction, public performance and distribution rights (and, where applicable, the communication and making available rights) for purposes of digital transmissions.

Going forward, the determinative consideration will be whether transmissions of recorded music have occurred, not whether transmissions result in sales, promote sales, or may cause sales to be lost. Licences will be made available without regard to whether recordings are streamed, downloaded, or transmitted by some means not yet devised; whether programming is interactive or non-interactive, or contains this, that or another recording; or whether the service that provides the transmission accepts user-generated content or operates as a P2P network. The number of copies made in the course of transmissions (including server copies, and ephemeral, transitory and buffer copies), the type of transmission technology used, and the file format in which recordings are transmitted will not be of concern.

Ownership of the digital transmission right in each recording will be held jointly by the songwriter(s), music publisher(s), recording artist(s) and record label who contribute to it. Each party will be a co-owner of the right in the recording in question. Moreover, regardless of the nature of their relationships to each other under pre-existing agreements, or to particular recordings under current law, under the digital transmission right each rights holder will have independent and sufficient authority to grant non-exclusive licences on any terms to which they and their licensees agree. The only limitation on this authority will be the obligation to account to co-owners for royalties earned.

...

The digital transmission right would only be enforceable against those who provide digital transmissions, retransmissions or further transmissions of recorded music.

Accordingly, consumers would not incur any liability to rights holders for accessing streams, downloading music, or making copies of recordings for personal use. Similarly, software distributors, technology firms, consumer electronics makers, and telecommunications and internet service providers, as such, would have no liability.

On the other hand, audio service providers will need licences if they operate websites or other services that provide digital transmissions, retransmissions or further transmissions of recorded music.

...

Operators of centralised P2P networks would be jointly liable with their users who share music. These operators would also be liable for further transmissions or retransmissions through their servers of transmissions of recordings initiated by their users. A through-to-the-user licence would authorise all transmissions of licensed recordings through an operator’s centralised network; and individual users would be free to share those recordings through that network without the need to obtain licences themselves ...".

Whatever you may think of the author's proposals,
* it's great to say that someone with experience in the field in question is actually putting solid suggestions on the table rather than simply saying "the recording companies should stop harking back to the halcyon days when their old (pre-digital) business model worked and should design something else;

* it's notable that Mr Lincoff's proposals start with legislative reform as a sine qua non for the development of a new business model -- and this raises the question whether business models should shape the law or merely respond to it;

* given the nature of the distribution media, any solution will depend for its efficacy on the adoption of uniform legal provisions internationally. If there is no international norm, any business model will have to factor in the potentially devastating effect of havens in which the model becomes meaningless.