MUSIC & DIGITAL MEDIA (Spring 2017) | cbavitz | December 15, 2016

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MUSIC & DIGITAL MEDIA (Spring 2017)

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Clinical Professor Christopher T. Bavitz | Spring 2016 Seminar | Monday 5:00pm – 7:00pm | WCC Room 4059 | 2 Credits

This course explores legal issues relating to the creation, exploitation, and protection of music and other content. It focuses on traditional regimes and models and the ways new technologies have affected strategies involved in making and distributing content. The seminar balances doctrinal and policy concerns with day-to-day legal and business practices and skills relevant to practitioners.

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  1. 1 Show/Hide More INTRODUCTION: Copyright Basics and Incentives for Creation (Spring 2017)
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    TOPICS

    Overview of expression, nature of creativity and authorship, and rights-ownership.

    What are the goals of our copyright system?

    How do those goals fit in with the interests of:

    - creators?

    - consumers?

    - those who build businesses on distribution of content?

    Basic copyright concepts relevant to musical compositions and sound recordings.

    What works are covered by copyright?

    What rights does the owner of a musical work possess? 

     
    1. 1.1 Show/Hide More Lawrence Lessig, Remix, Bloombsbury Academic (2008) (CC BY-NC 3.0), Ch. 1, "Introduction"
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      Notes:
      Source: http://www.bloomsburyacademic.com/view/Remix_9781849662505/chapter-ba-9781849662505-chapter-0001.xml;jsessionid=FF7F25C75D42F66DA23F17F809558987 (visited: December 5, 2011)
    2. 1.2 Show/Hide More Eldred v. Ashcroft, 537 U.S. 186 (2003) (Excerpts)
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      Eldred v. Ashcroft, 537 U.S. 186 (2003) (Excerpts)
    3. 1.3 Show/Hide More 17 USC § 102
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    4. 1.4 Show/Hide More 17 USC § 106
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    5. 1.5 Show/Hide More 17 USC § 107
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    6. 1.6 Show/Hide More 17 USC § 501 (Excerpts)
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    7. 1.7 Show/Hide More ONLINE ONLY (Spring 2017)
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      1. 1.7.1 Rick Carnes, "Has Music Piracy Killed the 'Recording Artist'?," The Huffington Post (January 3, 2011)
      2. 1.7.2 "Copyright Criminals," Independent Lens (PBS), PBS "Community Classroom" Video Module 1: "Hip-Hop and the Birth of Sampling" (video)
      3. 1.7.3 Show/Hide More Kutiman, "Give It Up," Through You Too (YouTube, September 12, 2014) (video) (4:24)
        Kutiman, “Give It Up,” Through You Too (YouTube, September 12, 2014) (video)
      4. 1.7.4 Michele Catalano, "Jonathan Coulton vs. Glee: It's About the Ethics," Forbes (January 27, 2013)
    8. 1.8 Show/Hide More OPTIONAL (Spring 2017)
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      1. 1.8.1 U.S. Copyright Office, Circular 1, "Copyright Basics" (.pdf)
      2. 1.8.2 Peter B. Hirtle, "Copyright Term and Public Domain in the United States, 1 January 2016," Cornell University Copyright Information Center (CC BY 3.0)
      3. 1.8.3 Neil W. Netanel, "Copyright and the First Amendment; What Eldred Misses - and Portends," from Neil Weinstock Netanel, Copyright and Free Speech: Comparative and International Analyses, Oxford University Press (2005) (available at SSRN)
      4. 1.8.4 Show/Hide More Jonathan Coulton, "Baby Got Back," YouTube (Uploaded by YouTube User Enzemo, January 12, 2009) (video)
        Jonathan Coulton, “Baby Got Back,” YouTube (Uploaded by YouTube User Enzemo, January 12, 2009) (video)
      5. 1.8.5 Glee, "Baby Got Back," Vimeo (Uploaded by Vimeo User Giovanni De Grande)
  2. 2 Show/Hide More RIGHTS FRAMEWORK AND SCOPE OF PROTECTION (2 OF 2): Sound Recordings (Originality / Similarity / Infringement / Fair Use) (Spring 2017)
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    TOPICS
    Scope of federal and state law protections for sound recordings.
    - Federal law protection for recordings first fixed after February 15, 1972.
    - State law protection for pre-72 recordings.
    History and origins of common law rights / preemption by the Copyright Act.
    Infringement and sampling of sound recordings.
    Fair use of sound recordings.

    1. 2.1 Show/Hide More Bridgeport Music, Inc. v. Dimension Films LLC, 410 F.3d 792 (6th Cir. 2005) (Excerpts)
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    2. 2.2 Show/Hide More Saregama India Ltd. v. Mosley, 687 F. Supp. 2d 1325 (S.D. Fl. 2009) (Excerpts)
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    3. 2.3 Show/Hide More 17 USC § 412
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      Notes:
      Source: http://www.law.cornell.edu/uscode/17/usc_sec_17_00000412——000-.html (visited: December 6, 2011)
    4. 2.4 Show/Hide More 17 USC § 504 (Excerpts)
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      Notes:
      Source: http://www.law.cornell.edu/uscode/17/usc_sec_17_00000504——000-.html (visited December 6, 2011)
    5. 2.5 Show/Hide More Capitol Records, Inc. v. Naxos of America, Inc., 4 N.Y.3d 540 (N.Y. Ct. App. 2005) (Excerpts)
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    6. 2.6 Show/Hide More EMI v. Premise Media, Index No. 610209/08 (NY Sup. Ct., NY Co.), Order (August 13, 2008) (.pdf), read pp. 1 - 3; 6 - 19

    7. 2.7 United States Copyright Office, "Federal Copyright Protection for Pre-1972 Sound Recordings: A Report of the Register of Copyrights," Executive Summary (December 2011)
    8. 2.8 Show/Hide More ONLINE ONLY (Spring 2017)
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      1. 2.8.1 Eriq Gardner, "Madonna Gets Victory Over 'Vogue" Sample at Appeals Court," The Hollywood Reporter, (June 2, 2016)
      2. 2.8.2 Leigh Beadon, "Grooveshark Loses Latest Round In Court, In A Ruling That Could Gut The DMCA's Safe Harbors," TechDirt (April 23, 2013)
      3. 2.8.3 Loeb & Loeb, Cases of Interest: Flo & Eddie, Inc. v. Sirius XM Radio, Inc. (NY Ct. App. Dec. 20, 2016)
      4. 2.8.4 Todd Spangler, "Sirius XM to Pay $210 Million to Record Companies for Pre-1972 Songs," Variety (June 26, 2015)
      5. 2.8.5 Eriq Gardner, "SiriusXM Wins Florida Lawsuit Over Performance of Pre-1972 Music," The Hollywood Reporter -- THR, Esq. (June 22, 2015)
      6. 2.8.6 Tyler Ochoa, "A Seismic Ruling On Pre-1972 Sound Recordings and State Copyright Law – Flo & Eddie v. Sirius XM Radio (Guest Blog Post)," Technology & Marketing Law Blog (October 1, 2014), read all
    9. 2.9 Show/Hide More OPTIONAL (Spring 2017)
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      1. 2.9.1 VMG Salsoul, LLC v. Ciccone, 824 F.3d 871 (9th Cir. 2016)
      2. 2.9.2 American University Center for Social Media, "Documentary Filmmakers’ Statement of Best Practices in Fair Use" (Issued: November 18, 2005) (.pdf)
      3. 2.9.3 GateHouse Media Massachusetts, I, Inc. v. New York Times Company Civil Action No. 08-12114-WGY (D. Mass. 2008), Expert Report of Douglas Gary Lichtman Professor of Law UCLA School of Law (January 19, 2009) (.pdf)
      4. 2.9.4 Bridgeport Music, Inc. v. Dimension Films, Case No. 02-6521 (6th Cir.), Brief of Amici Curiae Brennan Center for Justice at NYU School of Law and the Electronic Frontier Foundation in Support of Appellee (January 20, 2005) (.pdf), read Argument Sec. II, pp. 12 - 17
      5. 2.9.5 United States Copyright Office, "Federal Copyright Protection for Pre-1972 Sound Recordings: A Report of the Register of Copyrights" (December 2011)
      6. 2.9.6 Council on Library and Information Resources and Library of Congress, Washington, DC, "Protection for Pre-1972 Sound Recordings under State Law and Its Impact on Use by Nonprofit Institutions: A 10-State Analysis," (September 2009) (.pdf)
      7. 2.9.7 Joshua Crum, "The Day the (Digital) Music Died: Bridgeport, Sampling Infringement, and a Proposed Middle Ground" 3 BYU Law Rev 943 (2008) (.pdf)
      8. 2.9.8 Olufunmilayo Arewa, "From J.C. Bach to Hip Hop: Musical Borrowing, Copyright and Cultural Context," Case Legal Studies Research Paper No. 04-21, 84 North Carolina Law Rev 547 (2006) (available at SSRN)
      9. 2.9.9 In the Matter of: Federal Copyright Protection of Sound Recordings Fixed Before February 15, 1972, Docket No. 2010-4, Comments of Recording Industry Association of America (RIAA) and American Association of Independent Music (A2IM) (January 31, 2011) (.pdf), read pp. 22 - 31
      10. 2.9.10 Comments of EFF in Response to Notice of Inquiry: Federal Copyright Protection of Sound Recordings Fixed Before February 15, 1972 (January 31, 2011) (.pdf), read pp. 2 - 4; 10 - 17
      11. 2.9.11 Show/Hide More Flo & Eddie Inc. v. Sirius XM Radio Inc., et al., Case 2:13-cv-05693-PSG-RZ (C.D. Cal. Sept. 22, 2014), read Sec. I (Background) and Sec. III (Discussion)
        Flo & Eddie Inc. v. Sirius XM Radio Inc., et al., Case 2:13-cv-05693-PSG-RZ (C.D. Cal. Sept. 22, 2014), read Sec. I (Background) and Sec. III (Discussion)
  3. 3 Show/Hide More RIGHTS FRAMEWORK AND SCOPE OF PROTECTION (1 OF 2): Musical Compositions (Originality / Similarity / Infringement / Fair Use) (Spring 2017)
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    TOPICS

    Overview of originality / protectability / copyrightability:

    - What are the elements of a musical composition?

    - What makes a musical composition protectable under copyright law?

    Infringement of musical compositions — access, substantial similarity, etc.

    Under what circumstances does one infringe another’s rights in a musical composition?

    Role of expert witnesses in infringement cases. Sampling of musical compositions.

    Fair use of musical compositions.

     
    1. 3.1 Show/Hide More Tisi v. Patrick, 97 F.Supp.2d 539 (S.D.N.Y. 2000) (Excerpts)
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    2. 3.2 Tisi v. Patrick, Case No. 00 CIV. 0882 (RWS) (S.D.N.Y.), Lawrence Ferrara, Report re: Sell Your Soul and Take a Picture (March 6, 2000)
    3. 3.3 Show/Hide More Federal Rule of Evidence 702
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      Notes:
      Source: http://www.law.cornell.edu/rules/fre/rule_702 (visited: December 5, 2011)
    4. 3.4 Show/Hide More Federal Rule of Evidence 703
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      Notes:
      Source: http://www.law.cornell.edu/rules/fre/rule_703 (visited: December 5, 2011)
    5. 3.5 Show/Hide More Federal Rule of Evidence 704
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      Notes:
      Source: http://www.law.cornell.edu/rules/fre/rule_704 (visited: December 5, 2011)
    6. 3.6 Show/Hide More Federal Rule of Evidence 705
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      Notes:
      Source: http://www.law.cornell.edu/rules/fre/rule_705 (visited December 5, 2011)
    7. 3.7 Show/Hide More Repp v. Lloyd Webber, 858 F. Supp. 1292 (S.D.N.Y. 1994) (Excerpts)
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    8. 3.8 Show/Hide More Repp v. Lloyd Webber, 132 F.3d 882 (2nd Cir. 1997) (Excerpts)
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    9. 3.9 Skidmore v. Led Zeppelin, C.D. Cal. W. Div. Case No. 2:15-cv-03462 RKG (AGRx), Declaration of Lawrence Ferrara, Ph.D. (February 23, 2016)
    10. 3.10 Show/Hide More Newton v. Diamond, 204 F.Supp.2d 1244 (C.D. Cal. 2002) (Excerpts)
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    11. 3.11 Show/Hide More Newton v. Diamond, 349 F.3d 591 (9th Cir. 2003) (Excerpts)
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    12. 3.12 Newton v. Diamond, Case No. 00-04909 (NM) (MANx) (C.D. Cal.), Rule 26 Expert Disclosure by Defendants Michael Diamond, Adam Horovitz, Adam Yauch, Beastie Boys, Capitol Records, Inc., Grand Royal Records, Inc., Universal Polygram Int'l Pub., Inc., Brooklyn Dust Music and Mario Caldato, Jr. (July 30, 2001), read pp. 1 - 9 and 12 - 13
    13. 3.13 Show/Hide More Bourne v. Twentieth Century Fox, 602 F.Supp.2d 499 (S.D.N.Y. 2009) (Excerpts)
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    14. 3.14 Henley v. Devore, Case No. 8:09-cv-00481-JVS-RNB (C.D. Cal.), Order Granting in Part and Denying in Part Plaintiff’s Motion for Partial Summary Judgment (June 10, 2010) (.pdf), read Section I (pp. 1 - 3) and Sections III(A)(1), III(A)(1)(i) (pp. 5 - 19)
    15. 3.15 Show/Hide More ONLINE ONLY (Spring 2017)
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      ONLINE ONLY (Spring 2017)
      1. 3.15.1 Noah Gilbert and Ben Sisario, "Led Zeppelin Did Not Steal 'Stairway to Heaven,' Jury Says," The New York Times (June 23, 2016)
    16. 3.16 Show/Hide More OPTIONAL (Spring 2017)
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      1. 3.16.1 Show/Hide More Bright Tunes Music Corp. v. Harrisongs Music, Ltd., 420 F.Supp. 177 (S.D.N.Y. 1976) (Excerpts)
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      2. 3.16.2 Show/Hide More Jorgensen v. Epic / Sony Records, 351 F.3d 46 (2d Cir. 2003) (Excerpts)
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      3. 3.16.3 Show/Hide More Jean v. Bug Music, 2002 U.S. Dist. LEXIS 3176, 2002 WL 287786 (S.D.N.Y. Feb. 25, 2002) (Excerpts)
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      4. 3.16.4 David J. Prince and Gary Graff, "Coldplay, Satriani Copyright Lawsuit Dismissed," Billboard.com (September 15, 2009)
      5. 3.16.5 Randy Lewis, "Beach Boys vs. Katy Perry? A warning, not a lawsuit," Pop & Hiss, The L.A. Times Music Blog (August 5, 2010)
      6. 3.16.6 Ben Sheffner, "Henley, DeVore settle lawsuit; Henley rails against remixes and mash-ups, YouTube, 'dark side' of Internet; songs are not 'toys or playthings'," Copyrights & Campaigns (August 5, 2010)
      7. 3.16.7 Henley v. Devore, Case No. 8:09-cv-00481-JVS-RNB (C.D. Cal.), Lawrence Ferrara, Report re: (1) "The Boys of Summer" as recorded by Don Henley and "The Hope of November" and (2) "All She Wants to Do Is Dance" as recorded by Don Henley and "All She Wants to Do is Tax," read pp. 1 - 5 and 13 - 18
      8. 3.16.8 Henley v. Devore, Case No. 8:09-cv-00481-JVS-RNB (C.D. Cal.), Declaration of Lawrence Ferrara in Support of Plaintiffs' Motion for Partial Summary Judgment (April 8, 2010) (.pdf), read Pars. 1 - 5; 31 - 33; 44 - 47
  4. 4 Show/Hide More INDUSTRY STRUCTURE AND LEGAL / BUSINESS ARRANGEMENTS (1 OF 2): Music Publishers, Publishing Agreements, Licenses, and PROs (Spring 2017)
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    TOPICS
    Contractual arrangements between songwriters and publishers.
    Licensing of musical compositions by publishers (mechanical and synchronization licenses).
    Public performance rights and musical compositions.
    Digital / new media issues faced by songwriters and the publishing industry.
    The role of the Harry Fox Agency in licensing of musical compositions.
    1. 4.1 Anita Wadhwani, "Hitched to a Star," The Tennessean (January 2, 2011) (.pdf)
    2. 4.2 Al Kohn and Bob Kohn, "Kohn on Music Licensing, 4th Ed." (Aspen Publishers 2010) , read pp. 103-138, 159-175; skim remaining pages (.pdf)
    3. 4.3 "Copyright and the Music Marketplace: A Report of the Register of Copyrights," United States Copyright Office (February 2015), read "Licensing Musical Works," Section II(B), pp. 25 - 43
    4. 4.4 Show/Hide More Recording Industry Ass'n v. Lib. of Congress, 608 F.3d 861 (D.C. Cir. 2010) (Excerpts)
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    5. 4.5 United States Copyright Office, "Mechanical License Royalty Rates" (.pdf)
    6. 4.6 Comments of the National Music Publishers’ Association, the Nashville Songwriters Association International, SESAC, Inc., and the Church Music Publishers Association in response to the United States Patent and Trademark Office’s Request for Comments on the Department of Commerce’s Internet Policy Task Force Green Paper, Copyright Policy, Creativity, and Innovation in the Digital Economy, 78 Fed. Reg. 61337.
    7. 4.7 Show/Hide More ONLINE ONLY (Spring 2017)
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      1. 4.7.1 Ed Christman, "Universal Music Publishing Plots Exit from ASCAP, BMI," Billboard.biz (February 1, 2013)
      2. 4.7.2 Ed Christman, "Pandora Faces Setback As Judge Rules Blanket License Doesn't Include Songs of Publishers Leaving BMI," Billboard (December 18, 2013)
    8. 4.8 Show/Hide More OPTIONAL (Spring 2017)
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      1. 4.8.1 Statement of Rick Carnes, President The Songwriters Guild of America Before the Subcommittee on Courts, the Intern and Intellectual Property of the House Committee on the Judiciary, "The Section 115 Reform Act of 2006" (May 16, 2005) (.pdf)
      2. 4.8.2 U.S. Copyright Office, Circular 73, "Compulsory License for Making and Distributing Phonorecords" (.pdf)
      3. 4.8.3 In Re: Mechanical and Digital Phonorecord Rate Adjustment Proceeding , Docket No. RF 2006-1, Delivery Rate Adjustment Proceeding, US Copyright Office (October 16, 2006) (.pdf)
      4. 4.8.4 Show/Hide More Live365, Inc. v. Copyright Royalty Board, 698 F. Supp. 2d 25 (D.D.C. 2010) (Excerpts)
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      5. 4.8.5 "Music Publishers to Join YouTube Suit," The New York Times (August 7, 2007)
      6. 4.8.6 ASCAP's Survey and Distribution System: Rules & Policies (.pdf)
      7. 4.8.7 Jacqui Cheng, "Judge: ringtones aren’t performances, so no royalties," Ars Technica (October 15, 2009)
      8. 4.8.8 Evan Brown, "Downloading a song is not a performance under the Copyright Act," Internet Cases (September 29, 2010)
      9. 4.8.9 Show/Hide More US v. ASCAP (In re Cellco Partnership), 663 F.Supp.2d 363 (SDNY 2009) (Excerpts)
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      10. 4.8.10 Show/Hide More US v. ASCAP (In Re AT&T Wireless f/k/a Cingular Wireless), 599 F.Supp.2d 415 (SDNY 2009) (Excerpts)
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      11. 4.8.11 Whitney Broussard, "The Promise and Peril of Collective Licensing," 17 Journal of Intellectual Property Law 1 (2009) (.pdf)
  5. 5 Show/Hide More INDUSTRY STRUCTURE AND LEGAL / BUSINESS ARRANGEMENTS (2 OF 2): Record Companies, Record Deals, and Master Use Licenses (Spring 2017)
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    TOPICS
    Traditional record deals (between artists and record companies).
    Overview of contract terms.
    Consideration of various record contract issues, including:
    - minors and contracts;
    - California’s “Seven-Year Statute”;
    - termination of copyright transfers;
    - controlled composition clauses; and
    - sale vs. license and digital exploitation.
    “360 Deals.”

    1. 5.1 M. William Krasilovsky and Sydney Shemel, with Contributions by John M. Gross and Jonathan Feinstein, This Business of Music, 10th Ed. , Billboard Books (2007), read Ch. 2, “Recording Artist Contracts," pp. 14 - 28
    2. 5.2 California Labor Code Section 2855
    3. 5.3 M. William Krasilovsky and Sydney Shemel, with Contributions by John M. Gross and Jonathan Feinstein, This Business of Music, 10th Ed. , Billboard Books (2007), read Ch. 3, “Contracts with Minors,” pp. 30 - 32
    4. 5.4 Senate Judiciary Committee Report on the Digital Performance Right in Sound Recordings Act of 1995, to Accompany S. 227 (August 4, 1995), read "Section 115(c)(3)(E)," pp. 41 - 42 (.pdf)
    5. 5.5 "Copyright and the Music Marketplace: A Report of the Register of Copyrights," United States Copyright Office (February 2015), read "Licensing Sound Recordings," Section III(C), pp. 43 - 55
    6. 5.6 Show/Hide More FBT Productions, LLC v. Aftermath Records, 621 F.3d 958 (9th Cir. 2010) (Excerpts)
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    7. 5.7 Form / Template "360 Deal," focus on Pars. 10 - 14, skim remaining provisions
    8. 5.8 Show/Hide More ONLINE ONLY (Spring 2017)
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      1. 5.8.1 Larry Rohter, "Record Industry Braces for Artists' Battles Over Song Rights," The New York Times (August 15, 2011)
      2. 5.8.2 Eric Boehlert, "Four Little Words," Salon.com (August 28, 2000)
      3. 5.8.3 Jeff Leeds, "The New Deal: Band as Brand," The New York Times (November 11, 2007)
      4. 5.8.4 Bob Lefsetz, "360 Deals," The Lefsetz Letter (November 11, 2007)
    9. 5.9 Show/Hide More OPTIONAL (Spring 2017)
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      1. 5.9.1 "Major Label Contract Clause Critique," Future of Music Coalition (October 3, 2001)
      2. 5.9.2 Mary LaFrance, "Authorship and Termination Rights in Sound Recordings," 75 S. Cal. L. Rev. 375 (2002) (.pdf)
      3. 5.9.3 Peter S. Menell and David Nimmer, "Sound Recordings, Works for Hire, and the Termination-of-Transfers Time Bomb" (June 17, 2010) (available at SSRN)
      4. 5.9.4 "The Terminator: Rights Reversion and Musicians," Future of Music Coalition (April 21, 2010)
      5. 5.9.5 Douglas Okorocha, "A Full 360: How the 360 Deal Challenges the Historical Resistance towards Establishing a Fiduciary Duty between Recording Artist and Record Label," UCLA Entertainment Law Review, Vol. 18, 2011 (November 11, 2010) (available at SSRN )
  6. 6 Show/Hide More BLURRED LINES CASE STUDY: Anatomy of an Infringement Case (Spring 2017)
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    1. 6.1 Show/Hide More ONLINE ONLY (SPRING 2017)
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      1. 6.1.1 Williams v. Bridgeport Music, Inc., Complaint (C.D. Cal. CV13-06004) (August 15, 2013)
      2. 6.1.2 ASCAP Clearance Express Database, Title Search Result, "Blurred Lines," Work ID #885215996, ISWC# T9103359699 (Search Performed March 12, 2015)
      3. 6.1.3 ASCAP Clearance Express Database, Title Search Result, "Blurred Lines (Non-Rap Version)," Work ID #885745206, ISWC# T9131726528 (Search Performed March 12, 2015)
      4. 6.1.4 Williams v. Bridgeport Music, Inc., Jury Instructions (C.D. Cal. CV13-06004) (March 10, 2015), skim
      5. 6.1.5 Williams v. Bridgeport Music, Inc., Special Verdict Form (C.D. Cal. CV13-06004) (March 10, 2015) , skim
      6. 6.1.6 Casey Rae, "Blurred (Legal) Lines?," Future of Music Coalition (March 11, 2015)
      7. 6.1.7 Eriq Gardner, "'Blurred Lines' Appeal Gets Support from More than 200 Musicians," The Hollywood Reporter (August 30, 2016)
      8. 6.1.8 Josh Chesterfield, "Robin Thicke - Blurred Lines VS Marvin Gaye - Got to Give it Up," YouTube.com (November 1, 2013) (Video)
      9. 6.1.9 The Tonight Show Starring Jimmy Fallon, "Jimmy Fallon, Robin Thicke & The Roots Sing 'Blurred Lines' (w/Classroom Instruments)," Tune.pk (User: Jack oliver) (Video)
    2. 6.2 Show/Hide More OPTIONAL (SPRING 2017)
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      1. 6.2.1 MovieClips Trailers, "The Best Man Holiday Official Trailer #1 (2013)," YouTube (July 10, 2013) (Video)
  7. 7 Show/Hide More CHALLENGES TO THE PARADIGM: Law, Policy, and Business Transformations in the Digital Age (Spring 2017)
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    TOPICS
    Alternative approaches to artists’ financing / releasing music.
    Artist and songwriter royalties and digital services.
    Artist revenue streams.
    Proposed changes to the legal regime.
    Alternative compensation systems.

    1. 7.1 Show/Hide More ONLINE ONLY (Spring 2017)
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      1. 7.1.1 Fenway Recordings, "About," read all
      2. 7.1.2 "Artist Revenue Streams," Future of Music Coalition, skim all
      3. 7.1.3 "42 Revenue Streams," Future of Music Coalition, skim all
      4. 7.1.4 Kevin Gray, "Kobalt Changed the Rules of the Music Industry Using Data -- And Saved It," Wired.co.uk (May 1, 2015)
      5. 7.1.5 David Pakman, "The Price of Music," Disruption (David Pakman's Blog) (Mar 18, 2014) , read all
      6. 7.1.6 Amanda Palmer, "The Art of Asking," TED2013 (February 2013), watch
      7. 7.1.7 Amanda Palmer, "The Dirty Inbox of a Touring Musician, Revealed," blog.amandapalmer.net (May 15, 2010), read all
    2. 7.2 Show/Hide More OPTIONAL (Spring 2017)
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      1. 7.2.1 William Fisher, Promises to Keep, Stanford University Press (2004), Chapter 6: "An Alternative Compensation System," (CC BY 3.0), read pp. 1 - 22
      2. 7.2.2 Lawrence Lessig, Free Culture, The Penguin Press (2004) (CC BY-NC 2.0), "Rebuilding Free Culture: One Idea," read pp. 282-286
      3. 7.2.3 Amanda Palmer, "The new RECORD, ART BOOK, and TOUR," Kickstarter (Funding Ended May 31, 2012)
      4. 7.2.4 Creative Commons, "Defining 'Noncommercial': A Study of How the Online Population Understands “Noncommercial Use," "Executive Summary," pp. 10 - 13
      5. 7.2.5 Jenna Wortham, "A Few Dollars at a Time, Patrons Support Artists on the Web," The New York Times (August 9, 2009)
  8. 8 Show/Hide More ANTI-PIRACY AND RIGHTS ENFORCEMENT: Intermediaries, the DMCA Safe Harbor, Individual Infringers, and New Legislative Efforts (Spring 2017)
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    TOPICS

    • The role of intermediaries and secondary liability for infringement
    • The Digital Millennium Copyright Act safe harbor
    • Enforcement efforts against individual infringers vs. enforcement efforts against platforms
    • The role of statutory damages
    • New legislative efforts re: anti-piracy and rights enforcement, the SOPA / PIPA debate, addressing ex-US infringement
    • Striking a balance — promoting innovation and protecting creators’ and content owners’ rights

     

    1. 8.1 Show/Hide More ONLINE ONLY (Spring 2017)
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      1. 8.1.1 Show/Hide More A&M Records, Inc. v. Napster, Inc., 239 F.3d 1004 (9th Cir. 2001) (Excerpts)
        Original Creator: cbavitz Current Version: cbavitz

      2. 8.1.2 UMG v. Escape Media Group, No. 11 Civ. 8407, Opinion (S.D.N.Y. Sept. 29, 2014), read .pdf pp. 2-14 (“Facts”), 42-56 (“Plaintiffs’ Copyright Claims”)
      3. 8.1.3 Show/Hide More Metro-Goldwyn-Mayer, Inc. v. Grokster, 545 U.S. 913 (2005) (Excerpts)
        Original Creator: cbavitz Current Version: cbavitz

      4. 8.1.4 Show/Hide More Sony BMG Music Entertainment, et al. v. Tenenbaum, 660 F.3d 487 (1st Cir. 2011) (Excerpts)
        Original Creator: cbavitz Current Version: cbavitz
      5. 8.1.5 Pio Szamel, "District Court Grants Summary Judgment to YouTube in Viacom v. YouTube (Again)" (JOLT Digest May 2, 2013)
      6. 8.1.6 Darren Waters, "Napster: 10 years of change," BBC (June 8, 2009)
      7. 8.1.7 Geoff Taylor, "Napster -- 10 years of turmoil," BBC (June 26, 2009)
      8. 8.1.8 Pamela Samuelson and Ben Sheffner, Debate, "Unconstitutionally Excessive Statutory Damage Awards in Copyright Cases," 158 U.PA. L. Rev. Pennumbra 53 (2009) (.pdf), read Samuelson opening statement (pp. 54-57) and Sheffner Rebuttal (pp. 58-61)
      9. 8.1.9 Jonathan Zittrain, Kendra Albert, and Alicia Solow-Niederman, "A Close Look at SOPA," The Future of the Internet Blog (December 2, 2011)
      10. 8.1.10 Cary Sherman, "What Wikipedia Won't Tell You," NY Times (February 7, 2012)
      11. 8.1.11 Mike Masnick, "RIAA Totally Out of Touch: Lashes Out At Google, Wikipedia And Everyone Who Protested SOPA/PIPA," TechDirt (February 8, 2012)
      12. 8.1.12 Cary Sherman, "Comments, Questions, Concerns: RIAA CEO Reflects On Responses To His New York Times Op-Ed," RIAA Blog (February 23, 2012)
      13. 8.1.13 Open Rights Group, "Neil Gaiman on Copyright, Piracy and the Commercial Value of the Web" (February 3, 2011)
    2. 8.2 Show/Hide More OPTIONAL (Spring 2017)
      Original Creator: cbavitz Current Version: cbavitz
      1. 8.2.1 Show/Hide More Arista Records LLC v. Lime Group LLC, 715 F.Supp.2d 481 (S.D.N.Y. 2010) (Excerpts)
        Original Creator: cbavitz Current Version: cbavitz
      2. 8.2.2 17 U.S.C. § 512 (.pdf), read §§ 512(c), (d), (f), and (g)
      3. 8.2.3 Show/Hide More Lenz v. Universal Music Corp. 572 F. Supp. 2d 1150 (N.D. Cal. 2008) (Excerpts)
        Original Creator: cbavitz Current Version: cbavitz
  9. 9 Show/Hide More DIGITAL SALES AND DISTRIBUTION (1 of 2): Streaming Media, New Digital Services, and Emerging Digital Business Models (Spring 2017)
    Original Creator: cbavitz Current Version: cbavitz
    DIGITAL SALES AND DISTRIBUTION (1 of 2): Streaming Media, New Digital Services, and Emerging Digital Business Models (Spring 2017)
    1. 9.1 United States Copyright Office, "Copyright and the Music Marketplace" (February 2015), read pp. 133-202
    2. 9.2 Casey Rae, "Where's My Mechanicals: Part II: The Litigationing," Future of Music Coalition (March 10, 2016), read all
    3. 9.3 Casey Rae, "Where's My Mechanicals? The Ultimate Explainer," Future of Music Coalition (November 11, 2015), read all
    4. 9.4 Show/Hide More OPTIONAL (Spring 2017)
      Original Creator: cbavitz Current Version: cbavitz
      OPTIONAL (Spring 2017)
      1. 9.4.1 In re Petition of Pandora Media, Inc., Case 1:12-cv-08035-DLC, Order (March 18, 2014)
      2. 9.4.2 Laura Sydell, "Pandora Buys a Radio Station, Songwriters' Group Calls it a 'Stunt'," The Record, NPR.org (June 15, 2013)
      3. 9.4.3 R. Anthony Reese, "Copyright and Internet Music Transmissions: Existing Law, Major Controversies, Possible Solutions," 55 Univ. of Miami Law Rev. 237 (2001) (.pdf)
      4. 9.4.4 "IFPI Digital Music Report 2013: Engine of a Digital World" (February 26, 2013), read pp. 6-10; skim remaining pages
      5. 9.4.5 Ben Sisario, "Investors are Drawn Anew to Digital Music," The New York Times (February 28, 2011)
  10. 10 Show/Hide More DIGITAL SALES AND DISTRIBUTION (2 OF 2): Revenues and Accounting Practices, Transparency in Royalty Accounting, Rightsowner Identification and Rights Registries (Spring 2017)
    Original Creator: cbavitz Current Version: cbavitz
    DIGITAL SALES AND DISTRIBUTION (2 OF 2): Revenues and Accounting Practices, Transparency in Royalty Accounting, Rightsowner Identification and Rights Registries (Spring 2016)
    1. 10.1 Show/Hide More ONLINE ONLY (Spring 2017)
      Original Creator: cbavitz Current Version: cbavitz

      1. 10.1.1 Rethink Music (an Initiative of Berklee Institute for Creative Entrepreneurship), "Fair Music: Transparency and Payment Flows in the Music Industry," Berklee College of Music (July 2015), skim all
      2. 10.1.2 Benji Rogers, "How the Blockchain and VR Can Change the Music Industry (Part 1)," Medium -- Cuepoint (November 23, 2015), read all
      3. 10.1.3 Benji Rogers, "Benji Rogers, "How the Blockchain and VR Can Change the Music Industry (Part 2)", Medium -- Cuepoint (February 24, 2016), read all
      4. 10.1.4 Klementina Milosic, "GRD's Failure," Music Business Journal (August 2015), read all
      5. 10.1.5 Ben Sisario, "David Lowery Sues Spotify for Copyright Infringement," The New York Times (December 29, 2015)
      6. 10.1.6 Mike Masnick, "Understanding David Lowery's Lawsuit Against Spotify: The Insanity of Music Licensing," Techdirt (January 5, 2015), read all
    2. 10.2 Show/Hide More OPTIONAL (Spring 2017)
      Original Creator: cbavitz Current Version: cbavitz
      1. 10.2.1 Eliot Van Buskirk, "Interview: The Analyst Who Claims Revenue from Music Downloads to Phones Will Increase 129 Percent," Evolver.fm (March 3, 2011)
      2. 10.2.2 Eliot Van Buskirk, "Free Music Can Pay as Well as Paid Music, Says YouTube," Evolver.fm (February 2, 2011)
      3. 10.2.3 Eliot Van Buskirk, "Estimate: U.S. Spotify Would Have 1,115,516 Subscribers, $127,168,824 in Annual Revenue," Evolver.fm (December 8, 2010)
      4. 10.2.4 Show/Hide More Cartoon Network LP, LLLP v. CSC Holdings, Inc., 536 F. 3d 121 (2nd Cir. 2008) (Excerpts)
        Original Creator: cbavitz Current Version: cbavitz
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