On Monday, Jammie Thomas’ attorney, Brian Toder, filed a motion asking that the judge set a new trial to determine damages or, in the alternative, for a remittitur.  Thomas is the woman who was recently found guilty of copyright infringement as a result of which the Plaintiff was awarded $222,000.

The Federal Rules of Civil Procedure gives the judge sole discretion to require that the plaintiff “remit” a portion of the award back to the defendant if he finds that the award is “palpably and grossly excessive” as a matter of law.  See Douglas v. Cunningham, 294 U.S. 207, 210, 79 L.Ed 862, 55 S.Ct. 365 (1935).  The motion requests that U.S. District Michael Davis reduce the award to between zero and $150 dollars.  As an alternative, if the judge deems all 24 uploads to be a single infringing act, an aggregate punitive award of $750.  The defendants entire brief can be read on the blog, Recording Industry v. the People

Thomas’ attorneys base their requests on the sole grounds that the award of $222,000 is excess and, therefore, violates the Due Process clause of the United States Constitution. 

Courts have universally found that when a punitive damage is awarded, as is the case with the statutory damages awarded in Thomas, the defendant must be given due process with regard to the award of the damages.  Her attorneys are arguing that Thomas did not receive due process in this case because the award of $222,000 was grossly in excess of the actual damages sufferred by the Plaintiffs for the infringement of 24 songs which could be purchased online for $1 each. [They cite Zomba Enterprises v. Panorama Records, Inc, 491 F.3d 574 (6th Cir. 2007) and State Farm Mutual Automobile Insurance Co. v. Campbell, 538 U.S. 408, 123 S. Ct. 1513, 155 L. Ed. 2d 585 (2003), both infringement cases where the ruling was that due process was violated because the punitive damages were over 100 times greater than the actual damages).

This is a very viable motion and one which I feel the court might seriously entertain.  However, there is one other alternative available to the Court: the Court can treat each song as an act of infringement and therefore award statutory damages of $750 for each infringement, which would make the remititur closer to $18,000.  It would certainly be ironic, if not a bit poetic, if the Court remitted the award to somewhere between $3,000 and $5,000 which is exactly what the RIAA proposed to the recipients of its pre-litigation letters.

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Magic HatThis article originally appear in the print edition of Law on the Row, Volume 2, Issue 1 on September 9, 2002. 

Imagine two musical works written in a minor key using a standard jazz progression such as I-IV-II-V. Further imagine that Work B is alleged to be an infringement of Work A. The author of Work B hires an expert who testifies that the 16-note melodic line in Work B that is identical to the 16-note melodic line in Work A is not entitled to copyright protection because that melody is “dictated” by the jazz chord progression, and, therefore, there is no infringement. This analogy describes a new and novel use of the legal concept known by the French moniker, scenes á faire.

The phrase scenes á faire refers to certain distinct elements — characters, settings, or incidents, for example — in a copyrighted work that are absolutely necessary or indispensable in describing a particular “scene.” See, Atari Games v. Oman, 888 F.2d 878 (D.C. Cir 1989). For example, in creating a story about the music business in Nashville, one would expect references in the story to such elements as Music City, Music Row, songwriters, producers and the Bluebird Café. If a copyrighted novel contained those elements, those specific portions of the work relating to the scenes faire would not be entitled to copyright protection, and a second novel containing the very same elements would not be an infringement.

Thus, the concept of scenes á faire is applied in circumstances such as those described to limit the scope of copyright protection.

It is also important to note that the concept of scenes faire has traditionally been applied specifically to infringement actions involving novels, literary works and computer programming code. More recent attempts have met with success, however, in applying the doctrine to the comparison of lyrics alleged to be infringing. Even more recently, novel attempts have been made to apply the concept of scenes faire to the musical phrases and melodic lines of musical compositions

If a position such as the one described in our analogy could be argued successfully, then the amount of damages to which the author of Work A would be entitled is severely reduced, if not eliminated entirely. The copyright owner would end up with, at best, a musical work where certain sections of the melody and certain sections of the lyrics are entitled to protection — indeed, he have a copyright full of holes!

Of course, a simple mathematical calculation yields literally hundreds of thousands of permutations consisting of acceptable melodies which may be superimposed over the jazz chord progression common to the two works, yet this simple fact does not prevent the use of this argument in copyright infringement actions. Although the issue has arisen in the context of summary judgment, as of yet no court has issued a direct ruling on the application of scenes faire to melodic phrases or chord progressions.

DIGG IT!

 

Reba_Billboard_Cover_smOn Thursday, October 5th, Billboard magazine will release its 2nd Annual “Women in Music” issue which honors the top 20 women in music.  The list will be revealed at a special breakfast for the honorees at The Core Club in New York.  In conjunction with delivering the keynote speech at the breakfast, Music Row’s own superstar, Reba McEntire will be receiving the first-ever “Woman of the Year” award from Billboard

Billboard established the award “to recognize extraordinary women in the music industry who have made significant contributions to the business and who . . . inspire generations of women to take on increasing responsibilities within the field.”

“I am thrilled to be selected as Woman of the Year by Billboard,” said McEntire. “Although my career has taken me to TV, film, and Broadway, music is and always will be my first love. I am touched to be embraced in such a warm way by Billboard, and I look forward to celebrating with all the Women of the Year.”

McEntire’s most recent release, Reba Duets, released September 18, 2007, showcases her influences on a broad spectrum of genres.  The project pairs her with some of the music industry’s biggest names, including Don Henley, Carole King, Kenny Chesney, Justin Timberlake, Kelly Clarkson, Faith Hill, LeAnn Rimes and Trisha Yearwood.

Although her start came in country music, Reba has expanded the scope of her influence into a successful acting career with her portrayal of Reba Hart on the popular television sitcom that bears her name, as well as her performances on Broadway in Annie Get Your Gun and South Pacific.

“Reba’s all encompassing career in entertainment make her an obvious choice to be honored as Billboard’s first Woman of the Year,” said Billboard’s editorial director, Tamara Conniff.  “Reba is an inspiration to women everywhere and we are delighted to be presenting her with this award.”

Story.mp3Law on the Row used to be a periodic newsletter in the physical world that I would send to my clients and mailing list.  In the first edition of Law on the Row, published September 9, 1999, I published an article on digital downloading entitled “To MP3 or not to MP3?  The catalyst for a paradigm shift in the recording industry.”  That article was a harbinger of the paradigm which is still melding in the music industry even now.  The focus of this blog is where are we now?

There is a lot of discussion on the web and in the print press these days about the overall health of the music industry, including an article entitled “What’s the future of the music industry” published just last week in the New York Times.  The article points out the Nielson statistics for albums sales which indicate that sales have fallen 18% from 2000 to 2006.  Certainly, everyone in the music industry appreciates the downturn in sales, however, as the article also points outs, sales in other industries are also proportionately down , such as new cars which have declined 22% over the same time period.  Also, downturns in the music industry are certainly not atypical, and the digital download phenomenon is not the culprit of our current downturn.

I have always believed, as I still do, that people are essentially honest and want to pay for things they enjoy.  I believe that people do not mind paying for something of value, including music!  The success of iTunes, emusic.com, and all of the Russian download sites are indicators of the validity of my belief.  Yes, there is illegal activity.   Inevitably there will be people who abuse the system and will seek to get something for nothing.  But the average person just wants value.

I support the artists and songwriter’s rights to be paid for their time.  I even believe that a record label should recieve financial remuneration, even profit, for the marketing, promotion and distribution efforts involved.  The simple fact is that people will not work if they do not get paid.  If people stop getting paid for music, music as an industry will cease to exist.

Returning to the idea of value for effort, the author the NYT article reminisces about the historical “single,” an idea which deserves some consideration.  I remember going to a record store and looking at all of the singles displayed on the wall and picking one or two of my favorites.  The beauty of that system was that you got value for your money — you selected the music you for which you were paying.  In contract, with the industry’s current “record album” paradigm, you have to pay for 8–9 songs for which you don’t care.  Credit digital downloading for bringing back the “single” paradigm. 

But again, people want value even for this paradigm.  Most people I talk to insist that 99 cents for a single may be too much money.  Most people feel that somthing along the lines of 25–40 cents is an appropriate price point.  So, in essence, in considering everyone’s interest, including the songwriter, publisher, distributor (and/or record label) and artist, the question become how much are people willing to pay for a digital single to compensate the varying parties for their considerable effort.

The second component, in my opinion, of value for my money is DRM-free music.  People want their music to be free of any restrictions.  Any form of digital rights management has to be incorporated into this new paradigm.  Finally, selection is imperative.  People want variety.  Apple has only around 500,000 or so songs in their current catalog.  This may seem sufficient until you realize that peer-to-peer networks generate catalogs in the millions!

So, how will the new paradigm work?  The Electronic Frontier Foundation proposes voluntary collective licensing, which is to say that “the music industry forms a collecting society, which then offers file-sharing music fans the opportunity to “get legit” in exchange for a reasonable regular payment, say $5 per month.”  This is, of course, similar to the current method of collecting performance royalties by such giants as BMI, ASCAP and SESAC, as well as a multitude of foreign performance rights organizations. 

The collective licensing system is certainly a valid model, however, there are some disadvantages to consider:  first, with the risk of overgeneralizing, I note that these models typically favor, again, the players with the most power, i.e., the mega-conglomerates – not the independent artists and songwriters.  Secondly, the subscription method favors the supplier, not the demand.  Like most consumers, I personally do not like the “subscription-based” model.  I don’t like being obligated to a monthly fee, even if I can cancel it.  I want an ad hoc pay-as-you-go system — more like iTunes and less like eMusic. 

My personal prediction of how the new music paradigm might shake out is dependent upon the efficiency of search engines and indices on the Internet.  As the online community of music lovers grows, so does the online community of music providers.  Independent producers can sieze the day in many ways.  Myspace.com is evidence of this phenomenon.  but as anyone will tell you, the old addage of “build a better mousetrap” does not apply in the online world.  It less like looking for needle in a haystack and more like trying to find a dime on the ocean floor. 

There are certainly headways being made in this arena:  take the free Internet radio service, Pandora, as an example.  At this innovative site, people find new music similar to the music being played by Pandora’s web-based radio that is based on their selection of favorite music.   Another innovative search site is LivePlasma, which displays a graphical sytem of color-coded bubbles that are more or less related to your favorite artists.  As more of these types of search engines become available and intergrated into the Web, it will be easier for independent artists and producers to get their music heard.   For a much more detailed analysis of this idea, read Chris Anderson’s important book, The Long TailOnce that happens, the paradigm shift from major labels to independents will be complete.

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Althought not particularly related to Music Row or the music industry in general, I find this little tidbit of news interesting, if not a bit entertaining, and I wanted to share it.

EddieThe Associated Press reported yesterday that Ken Osmond, the actor who portrayed Eddie Haskell in the sitcom “Leave It to Beaver,” has filed suit agaisnt the Screen Actors Guild.

The class-action lawsuit was filed Tuesday in Los Angeles County Superior Court on behalf of over 30,000 actors. It accuses SAG of unjust enrichment and violations of California’s business code, and alleges that the union is sitting on $8.1 million that it collected from foreign royalties and should distribute to actors.

The suit alleges that since 1996, SAG collected foreign royalties for use of TV and movie productions in the form of levies for video rentals, private copying, cable transmissions, among other things, for which it has not accounted. It further contends that the guild has collected more than $8 million but paid out only about $250,000.

Osmond played the contrite and smug Eddie Haskell on “Leave It To Beaver” in the 1950s and 1960s. After that, he worked as a Los Angeles police officer, but has since retired.

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Because of its settlements with the four major music publishers involved in the Napster case -estimated at over $400 million- the German media conglomerate Bertelsmann AG (FRA: BTG4) reported a first-half net loss of shareholder profit of €51 million ($69.4 million), compared to earnings to shareholder of €258 million euros ($351.2 million) in the previous fiscal year.  The last of the pending Napster cases was settled the in August.  The BMG division posted a net operating EBIT loss of €3 which was said to reflect the sell off of its BMG Music Publishing division, the market declining by 12 percent and exchange rate effects.  Bertelsmann’s announcement also stated that although it saw a strong growth in the sell of digital formats, this effect proved unable to compensate for the decline in physical sales, which equaled a drop of roughly 20 percent. Sony BMG expects to counter this trend by expanding its digital business,

 By James H. Harris III*

JimMore than just occasionally, entertainers adopt stage names. They do so because they believe the new name will add a luster and specific identity to their careers. Thus, Harold S. Jenkins became Conway Twitty.

A stage name, of course, is a type of mark that an entertainer uses to identify himself or herself as a business enterprise. In most states, including Tennessee, a mark, in general, includes any trademark or service mark entitled to registration under the applicable state trademark act, regardless of whether the mark is actually registered.

A trademark in Tennessee is “…any word, name, symbol, or device, or any combination thereof, adopted and used by a person to identify goods made or sold by the person and to distinguish them from goods made or sold by others.” A service mark is similar to a trademark, but it is “a mark used in the sale and advertising of services of one person to distinguish them from the services of others.”

Finally, there is a trade name. “Trade name” means a word, name, symbol, device, or any combination thereof, used by a person to identify the person’s business, vocation, or occupation and distinguish it from the business, vocation, or occupation of others.

As can be seen from these definitions, the terms are inclusive rather than exclusive. A service mark differs from a trademark in that it identifies services rather than goods. A service mark or trademark can also be a trade name.

Common law protects the rights of the owners and users of unregistered trade names. In Tennessee, the law specifically provides that “Nothing in this part shall adversely affect the rights or the enforcement of rights in marks acquired in good faith at any time at common law.” A trade name is entitled to the same protection as a trademark or a service mark. For all practical purposes, the legal principles governing trademarks and trade names are virtually identical.

Personal Names In Trade Names

A trade name which consists of a personal name (first name, surname, or both) is entitled to legal protection when it attains secondary meaning. For example, a department store called The Harris Company acquires a secondary identification in the minds of the consuming public by the owner’s initial appropriation of the name and his continual use of the name in connection with the business enterprise of the store.

Because there may be thousands of persons with the same name, be it first name or surname, such names are not considered to be inherently distinctive trademarks. The work Harris used as a trademark or as part of a trade name would probably signify to the public only that someone of this name was connected with the business. However, when the requisite degree of notoriety attaches, as in the case of Ford for automobiles, the use of Harris becomes part of the trade name and the courts are likely to award some form of injunctive relief against a latecomer – one with the same name – who adopts the same or a confusingly similar name as a trademark or as part of a trade name.

When that happens, even though there be thousands of Harrises in the immediate area, only one has the right to use the name The Harris Company. All others who adopt the name or a confusingly similar one are infringers.

There is, of course, the romantic, ruggedly individualistic notion that an individual possesses some type of legal right to use his or her personal name as a trademark or service mark. A person frequently feels that “It’s my name and I can use it as I choose.” This influence, which is not present where other types of marks are involved, led the courts in early decisions to characterize the right to use one’s name in business as a “sacred” or “absolute” right. No such right has ever been thought to exist with respect to other kinds of marks, such as slogans or designs.

The United States Supreme Court in 1905, upholding the defendant’s right to use the name “Remington” as part of a corporate name, stated that “…[I]n the absence of contract, fraud or estoppel, any man may use his own name, in all legitimate ways, and as the whole or a part of a corporate name.”

This view quickly died. The Supreme Court began to uphold qualified injunctive relief in a number of surname cases, and it ultimately modified its earlier view. Referring specifically to the Remington case, the Court in 1914 shifted from favoring the interest of the alleged infringer to favoring the interest of the public:

But, whatever generality of expression there may have been in the earlier cases, it is now established that when the use of his own name upon his goods by a later competitor will and does lead the public to understand that those goods are the product of a concern already established and well known under that name, and when the profit of the confusion is known to and, if that be material, is intended by the later man, the law will require him to take reasonable precautions to prevent the mistake ….

LE. Waterman Co. v. Modern Pen Co., 235 U.S. 88, 35 S. Ct. 91, 59 L. Ed. 142 (1914).

The public interest is now generally regarded as outweighing whatever interest an individual might have in using his own name. For this reason, courts more recently have viewed personal name trademarks as being no different from any other. The Fifth Circuit stated:

… [A] man has no absolute right to use his own name, even honestly, as the name of his merchandise or his business. As such it becomes a trade name or service mark subject to the rule of priority in order to prevent deception of the public.

John R. Thompson Co. v. Holloway, 366 F. 2d 108 (1966).

Tennessee’s Personal Name Cases

The granddaddy of all name cases in Tennessee is M.M. Newcomer Co. v. Newcomer’s New Store, 217 S.W. 822 (1917). Shortly after the close of World War I, Mr. Newcomer left one corporation and started another. As the style of the case suggests, both businesses used Mr. Newcomer’s personal name in their trade names. The Supreme Court stated its findings in the leisurely language of the time:

It further appears that, notwithstanding the great confusion growing out of the similarity of the names of the two corporations, and the efforts of the complainant to prevent this confusion, the defendant persisted in retaining the name “Newcomer” in connection with its business, which fact, we think, showed a clear intention on its part to benefit by the extensive previous advertisement for a long period of years of said name in connection with the business of complainant. If this were not the intention and purpose of the defendant, then all of the confusion which has resulted to both complainant and the defendant could have been easily avoided by the defendant adopting a corporate name without the association of the name

“Newcomer” therewith. Id. at 824

It then confirmed the two lower courts’’ holdings that

… the persistent use by the defendant of the name “Newcomer” in connection with its business was for the purpose of misleading the public and inducing complainant’s customers to patronize the defendant under the belief that they were patronizing the complainant.

Id. at 825

From the court’s analysis came the rule:

The extent to which an individual may use his own name is not unlimited. He cannot resort to any artifice or contrivance intended to delude the public as to the identity of his business or products….

A man must use his own name honestly and not as a means of pirating upon the good will and representation of a rival by passing off his goods or business as the goods or business of his rival who gave the name its reputation and value. No one will be permitted to use even his own name with the fraudulent intention of appropriating the good will of a business established and built up by another person of the same name.

Id.

The court emphasized that this principle was not a strained or overly-philosophical legal conceit. To the contrary,

The legal principles which are controlling here are simply the principles of old-fashioned honesty. One man may not reap where another has sown nor gather where another has strewn.

Id. at 825. [Citations Omitted].

All Tennessee cases on uses of trade names after Newcomer have reaffirmed these principles. Despite the consistency of the courts’ opinions, however, there is still in Tennessee a nod to a bygone day. In a case called Kay Jewelry of Chattanooga v. Morris et al., the Court of Appeals in the Eastern Division recognized in 1943 the “general right of a natural person to use his family name in conducting business ….” This general right is subject to all of the limitations described above, however, so the apparent respect for a person’s name may be less than it appears from the court’s simple statement of the perceived right.

The better view, in my opinion, is that, in this day of mass and immediate marketing, a personal name is really of no greater importance, nor is it entitled to any more sanctity, than any other mark. After all, none of us has earned our names; we simply received them at birth. If we wish to add value to our name, we should be required to associate the name with a particular activity or goods, and further, to use our name only in a way that shows respect for all other existing trade names.

James H. Harris III has been my partner for over ten years.  He is a member of the professional association of Harris, Martin, Jones Shrum, Bradford & Wommack.  A 1967 graduate of Vanderbilt Law School, he has practiced on Music Row since 1975.  Mr. Harris is also a member and former trustee of the Copyright Society of the United States.