Stairway to Heaven Lawsuit Trial Date Set

If you work in or around the music industry, you’re probably well aware of the fact that Led Zeppelin, one of the most popular bands of all time, has been embroiled in litigation over the writer credits for the band’s iconic megahit “Stairway to Heaven.” In 2014, the estate of guitarist Randy California, a founding member of the band Spirit, as well as another band member, sued Led Zeppelin in the U.S. District Court for the Eastern District of Pennsylvania for copyright infringement over the musical similarities between “Stairway to Heaven” and Spirit’s “Taurus.” The lawsuit states that Stairway’s iconic introduction was lifted directly from Taurus, which Led Zeppelin heard while opening for Spirit on several concerts in 1968 and 1969, and seeks monetary damages as well as crediting Randy California as a writer on Stairway to Heaven.

While Led Zeppelin was unsuccessful in dismissing the lawsuit, the band succeeded in having the case moved from Pennsylvania to Los Angeles, where a federal district judge has slated trial to begin on May 10th, 47 years to the day after Zeppelin performed a concert in Vancouver for a crowd of 4,000. Notably, the band’s defenses in this case don’t deny that Taurus was appropriated, or claim that the songs are dissimilar. Instead, Led Zeppelin claims that the Plaintiffs have no standing to bring this lawsuit in the first place, for three reasons. First, the band asserts that Randy California wrote Taurus as a work for hire, meaning that he created the music pursuant to his contract with Hollenbeck Music and solely on Hollenbeck’s behalf, and therefore never owned the copyright himself. Second, the Defendants argue that California waived any claim to the work in a 1991 interview when he was asked about the similarities between Taurus and Stairway, ultimately responding that “if they wanted to use [Taurus], that’s fine,” and “I’ll let them have . . . Taurus for their song without a lawsuit.” Finally, the members of Led Zeppelin claim that they have been prejudiced by the fact that Plaintiffs waited over 40 years to bring this claim, during which time Stairway to Heaven became one of the highest-earning songs in history, and increasing the amount of damages sought by the Plaintiffs.

This is a case of landmark proportions. The fact that Led Zeppelin, a British band, was found to be subject to personal jurisdiction, first in Pennsylvania and now in Los Angeles, demonstrates that jurisdictional requirements can be met by non-resident musicians simply by marketing and selling records in a particular place. Recent efforts by the parties to settle the case have been fruitless, and we expect the case to proceed to trial roughly a month from now, as scheduled. Stay tuned as the court finally resolves this copyright infringement matter involving one of the most iconic, widely recognizable songs of all time.

Frank Gulino is an award-winning composer and attorney with Berenzweig Leonard, LLP. He can be reached at FGulino@BerenzweigLaw.com.

‘Big Bang Theory’ Producers Sued in “Soft Kitty” Copyright Case

Producers of the hit TV show The Big Bang Theory got a legal ‘bazinga’ in a new lawsuit contesting the show’s allegedly unauthorized use of nursery rhyme lyrics written eight decades ago by a New Hampshire school teacher.  The lawsuit, filed in New York federal court by the daughters of Edith Newlin on behalf of their late mother’s estate, asserts that Ms. Newlin held the lyrical copyright, and that the show never bothered to seek permission from her estate to use the now famous Soft Kitty lyrics.  The lawsuit asserts the defendants profited from such use not only from the show on at least eight episodes, but also through lucrative merchandising including T-shirts, toys and other products.

This case demonstrates interesting problems in dealing with copyright protection.  The defendants apparently thought they negotiated a proper license to use the lyrics from Willis Music, a Kentucky-based company which published a compilation of ‘Songs for the Nursery School’ in 1937.  Most lyrical and music copyrights are assigned to publishers, so it may have been understandable for the show’s producers to believe they obtained necessary permission.  However, Ms. Newlin’s estate is asserting that Willis Music only had the limited right to include the lyrics in that book but did not acquire the underlying copyright from Edith Newlin.  If that assertion is correct, these defendants, which include sophisticated companies such as Warner Brothers, Turner Broadcasting and CBS, may have goofed and did not have the right to have Sheldon Leonard and company sing those lyrics.

Viewers should stand by to hear what defenses these companies assert to the lawsuit, and whether they try to pass some of the blame on possible copyright confusion to the publisher, even though Ms. Newlin’s estate asserts that Willis never claimed it held the copyright.  In the meantime, this lawsuit can be considered a wake up call on how important it is to ensure proper use of intellectual property protected by copyright.  Otherwise, you may need Penny singing you a comforting lullaby – and make sure her song has nothing to do with a soft kitty or little ball of fur.

Seth Berenzweig is a managing partner at Berenzweig Leonard, a DC region business law firm that includes a music, media and entertainment practice.

Internet Service Provider Held Responsible for Users’ Infringement in Landmark Decision

BMG Rights Management, one of the world’s largest music publishers, has been awarded a $25 million verdict by a federal jury after Cox Communications was found to be liable for the copyright-infringing actions of its users.

Following a week-long trial in the U.S. District Court for the Eastern District of Virginia, it was determined that Cox was on the hook for the actions of its users as a result of its failure to reasonably implement a repeat-infringer policy. While the Digital Millennium Copyright Act offers a number of “safe harbors” that typically protect internet service providers from liability for copyright infringement, Cox was found to fall outside of these safe harbors when it failed to crack down on repeated piracy. For example, after identifying known copyright pirates among Cox users, BMG sought to enlist Cox’s help in sending cease and desist letters to those users and/or terminating their internet service. Cox purported to have a policy of terminating the service of repeat copyright infringers, but in practice retained them as high speed internet customers.

BMG controls the rights to music by popular artists including David Bowie and Bruno Mars, among others. At issue in this particular lawsuit were 1,397 different copyrighted works that were downloaded illegally a total of nearly 2 million times. The jury found Cox liable for willful contributory infringement, awarding $25 million in damages. Moreover, Cox is now facing a separate lawsuit from its insurance company, which is trying to skip out on the tab in the BMG case due to “Cox’s business policy and practice of ignoring and failing to forward infringement notices and refusing to terminate or block infringing customers’ accounts.”

The impact of this landmark decision on future internet service provider liability for copyright infringement seems clear: you can probably expect ISPs to crack down much harder on copyright abuse, probably going as far as to terminate the service of repeat offenders. In the wake of this verdict, the failure to do so could result in significant liability for the service provider, in what appears to be a clear victory for artists and rights holders.

Frank Gulino is an award-winning composer and attorney with Berenzweig Leonard, LLP. He can be reached at FGulino@BerenzweigLaw.com.

Recent Copyright Law Decisions Have the Industry Jammin’

The entertainment industry is no stranger to copyright law, but three recent federal court decisions may just throw things for a loop.

Earlier this summer, the Fourth Circuit clarified the “substantially similar” test, which is used to determine copyright infringement. David Copeland, a singer and songwriter, alleged that Justin Bieber and Usher’s song, Somebody to Love, was a ripoff of his own song. In considering whether the two works were “substantially similar,” the Fourth Circuit applied a two-part analysis: whether the works were “intrinsically” (in other words, subjectively) similar and whether they were “extrinsically” (objectively) similar. Although the extrinsic analysis often involves scholarship and expert analysis, the subjective analysis is based on the general audience’s perception. The Court found that both songs had an identical chorus, or “hook.” Since the hook is typically the most memorable part of any song, the Court concluded that a jury could reasonably find the two songs substantially similar and remanded the case back to the lower court. The case could go to trial as early as next year.

The Ninth Circuit, meanwhile, has weighed in on an eight-year-long battle involving the extent of copyright holders’ claims over copyrighted material. In 2007, Stephanie Lenz sued Universal for directing YouTube to take down a 29-second video clip of her son bobbing to Prince’s Let’s Go Crazy. Universal asserted that the clip infringed Prince’s music copyright. Section 512(c) of the Digital Millennium Copyright Act (DMCA) allows service providers, like YouTube, to avoid copyright infringement liability if they timely remove or disable access targeted content after receiving a takedown notification about the content. Notoriously known as the “dancing baby” case, Lenz’s claim alleged that Universal did not evaluate whether the uploaded video’s use of Prince’s song qualified as “fair use” before targeting it for takedown. The Fair Use Doctrine permits the use of copyrighted material in certain situations, such as parody, news reporting, or incidental use, based on application of a subjective, multi-part test. Although the DMCA does not explicitly require fair use analysis prior to issuance of a take-down notice, the Ninth Circuit held that “fair use is not just excused by the law, it is wholly authorized by the law.” According to the opinion, the DMCA requires copyright holders to consider fair use before sending a takedown notification, or face liability under the statute. This could change completely many large media companies’ anti-infringement campaigns – most of which have an automated element – since the highly subjective fair use analysis can’t be performed by a computer.

Finally, the United States District Court for the Central District of California ruled that the “Happy Birthday” song now belongs to the public. After a class action suit challenged Warner/Chappell Music’s rights to the song, Judge King determined that the original copyright covered the song’s piano arrangement, but not the lyrics, and that the whole work has since fallen into the public domain. While the ruling serves as a fun law school case-study, it also has serious business implications for Warner/Chappell Music. Since acquiring the copyright in 1988, the company has profited significantly through commercial licensing of the song – to the tune of almost $2 million a year. Judge King’s ruling may now provide an avenue for the licensees to retrieve their money back. A Happy Birthday indeed!

With a number of other major copyright cases making their ways through the courts this year, even more changes may be on the horizon, so stay tuned for more industry updates.

Sara Almousa is a law student at the George Mason University School of Law and a law clerk at the firm of Berenzweig Leonard, LLP.

Judge Modifies Verdict in “Blurred Lines” Lawsuit

In March, a jury awarded Marvin Gaye’s children nearly $7.4 million after rendering a verdict that singers Robin Thicke and Pharrell Williams plagiarized Gaye’s 1977 hit “Got to Give It Up” to create “Blurred Lines,” the longest-running number one single of 2013.

Now, a federal judge has modified the verdict, trimming more than $2 million off the singers’ liability, but also giving Gaye’s family 50% of the song’s future royalties. Thicke and Williams both sought a new trial, and Gaye’s family moved for an injunction that would have blocked sales and performances of Blurred Lines; all three requests were denied, with the judge instead arriving at what he perceived to be the more equitable conclusion of reducing infringement damages while providing Gaye’s estate with a share of future profits.

Thicke and Williams, who each earned more than $7 million apiece on “Blurred Lines,” claim to have written the song independently, but Gaye’s estate argued that a number of distinct elements from “Got to Give It Up” were used in “Blurred Lines.” It was ultimately left up to the jury to determine whether the defendants infringed upon Gaye’s copyright or simply emulated the sound of Gaye’s work. The jury concluded that “Blurred Lines” infringed on Gaye’s copyright, leading to a great deal of debate regarding the distinction between plagiarism and mere influence of another song or genre.

It is important to note that certain aspects of a musical composition are protectable by copyright, such as particular arrangements of notes and harmonies, while others are not, such as style, feel, or the timbre of a certain combination of instruments. In this case, it would be naïve to believe that Gaye’s “Got to Give It Up” did not influence Thicke and Williams in crafting “Blurred Lines,” but copyright protection is not intended to extend to mere influence. While particular expressions of musical ideas can be protected, the ideas themselves, such as, for example, pairing an electric piano and a cowbell with a disco beat, cannot. These important points seem to have gotten lost in this case.

The judge’s willingness to modify the verdict while also denying the parties’ motions for a new trial serves to highlight the controversy surrounding the court’s initial decision. On its face, “Blurred Lines” simply doesn’t infringe on Gaye’s “Got to Give It Up,” an opinion that appears to be extremely prevalent among those with musical training. This recent development may be a recognition of that fact, while still attempting to give some teeth to current copyright protections. Either way, it will be interesting to see whether the chilling effect on songwriting that has been forecast by some in the industry will play out.

Frank Gulino is an award-winning composer and attorney with Berenzweig Leonard, LLP. He can be reached at FGulino@BerenzweigLaw.com.

Heroes Held Hostage in Film: How Old Copyright Deals are Getting in the Way of Superhero Team-Ups

In February 2015, the Walt Disney Company ‒ which owns Marvel Worldwide ‒ and Sony Corp. reached an agreement that will permit the enormously popular web-slinger, Spider-Man, to appear in upcoming Marvel superhero movies.  To many Marvel comics readers and Spidey fans, the need for this deal may be quite confusing, given that Spider-Man is a member of the Marvel superheroes team, the Avengers, and first appeared in a comic published by Marvel.  Strange though it may seem, the complexities of intellectual property law ‒ particularly the severability of film and print rights associated with particular superhero characters ‒ make deals like this one a necessity when it comes to characters whose various entertainment rights are held by different companies.

The copyright to a protectable property, like the character of Spider-Man, is actually made up of specific subsidiary property rights, such as print rights (the right to write about Spider-Man in books and comics), digital rights (the right to reproduce or use Spider-Man in digital media), film rights (the right to represent Spider-Man in TV shows and movies), foreign rights (the right to represent or market Spider-Man outside the U.S.) and derivative rights (the right to reinvent or reinterpret the character of Spider-Man).  For this reason, character copyrights are often spoken of in simple terms as a “bundle of rights” or “bundle of sticks.”  For any given copyrighted character, the sticks in the larger copyright bundle (the “film rights stick” or “derivative rights stick”) can be separated out, locked up, or given away by the original owner.

Marvel decided to begin breaking up some of its bundles of rights when it was faced with impending financial collapse in the late 1980s.  To obtain the funds it needed, Marvel lent out some of the sticks associated with characters like Spider-Man, the Fantastic Four, and the X-Men to different entertainment industry players for a certain amount of time.  The rub is that now, in the midst of the present comics industry boom, some of Marvel’s most valuable sticks are still on loan to other industry players.  Sony Pictures, for instance, presently holds the screen rights to Spider-Man, while 20th Century Fox holds the screen rights for the Fantastic Four and X-Men.  This means that while Marvel (and its corporate parent, Disney) retain the right to represent these characters in printed comic books and other media, it can’t put them in movies without getting permission.  This fact has led to such odd moves as Marvel’s recent decision to cancel its popular Fantastic Four comic series and forbid the creation of new X-Men characters in an apparent bid to trip up 20th Century Fox’s screen plans for the Fantastic Four and X-Men franchises.  

Glamorous as it may be, the trade in characters and rights associated with them is a business, and as in all business markets, there is risk in play whenever an original owner decides to give some of its rights away.  Had Marvel foreseen the present superhero culture frenzy back in the 1980s, it might have chosen to license out the film rights to its characters in different ways.  As things stand now, Sony may maintain its grip on Spider-Man for quite some time, since the studio’s lockup on the character’s screen rights is kicked out every time the character is represented in a new film (hence, the multiple reboots the character has seen in recent years).

With entertainment juggernauts like Avengers 2: Age of Ultron and Batman v. Superman on the horizon, the present comics craze shows no signs of slowing down.  As things charge along, expect intricate behind-the-scene legal workings to continue playing a big role when it comes to which characters will hit the big screen, and which may have to wait until the old deals of the 1980s and ‘90s have run their course before they can be used to their full potential.

David Moon is a law clerk with Berenzweig Leonard expecting his J.D. in May 2015. Ryen Rasmus is an associate attorney practicing in the Entertainment and Music Industry Law Group of Berenzweig Leonard.  He can be reached at RRasmus@BerenzweigLaw.com.

L.A. Jury Delivers $7.4 Million Verdict in “Blurred Lines” Lawsuit

A jury has awarded Marvin Gaye’s children nearly $7.4 million after determining that celebrity singers Robin Thicke and Pharrell Williams plagiarized Gaye’s 1977 hit “Got to Give It Up” to create “Blurred Lines,” the longest-running number one single of 2013.

Thicke and Williams, who each earned more than $7 million apiece on “Blurred Lines,” claim to have written the song independently, but Gaye’s estate argued that a number of distinct elements from “Got to Give It Up” were used in “Blurred Lines” and it was ultimately left up to the jury to determine whether the defendants infringed upon Gaye’s copyright or simply emulated the sound of Gaye’s work. The jury concluded that “Blurred Lines” infringed on Gaye’s copyright, and that decision could have a chilling effect on musicians seeking to emulate the sounds of certain artists, genres, or eras going forward.

Certain aspects of a musical composition are protectable by copyright, such as particular arrangements of notes and harmonies, while others are not, such as style, feel, or the timbre of a certain combination of instruments. In this case, it would be naïve to believe that Gaye’s “Got to Give It Up” did not influence Thicke and Williams in crafting “Blurred Lines,” but copyright protection was not intended to extend to mere influence. While particular expressions of musical ideas can be protected, the ideas themselves, such as pairing an electric piano and a cowbell with a disco beat, cannot.

To the untrained ear, the similarity between the two songs may be striking. A musically trained ear, though, may notice that the two songs are in different keys and utilize different chord progressions. In other words, the success of Gaye’s infringement claim depended largely on the average juror’s inability to see past the similarities between the songs’ unprotectable characteristics (tempo, use of cowbell and Rhodes piano, use of syncopation, similar bass groove) to realize that “Got to Give It Up” and “Blurred Lines” are in fact two different songs whose similarities are mainly limited to characteristics that cannot be protected by copyright.

Had the jury been comprised of the defendants’ peers in the music profession, there is a strong possibility that Thicke and Williams would have prevailed. In light of this huge verdict, however, artists should be increasingly vigilant in their endeavors to emulate the sounds of other artists, genres, and eras in furtherance of their own art. Although the result of this case seems to blur the lines between what is protectable by copyright and what isn't, it nonetheless serves as a reminder that copyright infringement can lead to costly outcomes.

Frank Gulino is an award-winning composer and attorney with Berenzweig Leonard, LLP. He can be reached at FGulino@BerenzweigLaw.com.