Tag: Entertainment law

Not So Fast—NCAA Issues NIL Guidance Targeting Booster Activity

Recently, the NCAA Division I Board of Directors issued guidance to schools concerning the intersection between recruiting activities and the rapidly evolving name, image, and likeness legal environment (see Bracewell’s earlier reporting here). The immediately effective guidance was in response to “NIL collectives” created by boosters to solicit potential student-athletes with lucrative name, image, and likeness deals.

In the short time since the NCAA adopted its interim NIL policy, collectives have purportedly attempted to walk the murky line between permissible NIL activity and violating the NCAA’s longstanding policy forbidding boosters from recruiting and/or providing benefits to prospective student-athletes. Already, numerous deals have been reported that implicate a number of wealthy boosters that support heavyweight Division I programs.

One booster, through two of his affiliated companies, reportedly spent $550,000 this year on deals with Miami football players.1 Another report claims that a charity started in Texas—Horns with Heart—provided at least $50,000 to every scholarship offensive lineman on the roster.2 As the competition for talent grows, the scrutiny on these blockbuster deals is intensifying.

Under the previous interim rules, the NCAA allowed athletes to pursue NIL opportunities while explicitly disallowing boosters from providing direct inducements to recruits and transfer candidates. Recently, coaches of powerhouse programs have publicly expressed their concern that the interim NIL rules have allowed boosters to offer direct inducements to athletes under the pretense of NIL collectives.3

The new NCAA guidance defines a booster as “any third-party entity that promotes an athletics program, assists with recruiting or assists with providing benefits to recruits, enrolled student-athletes or their family members.”4 This definition could now include NIL collectives created by boosters to funnel name, image and likeness deals to prospective student-athletes or enrolled student-athletes who are eligible to transfer. However, it may be difficult for the NCAA to enforce its new policy given the rapid proliferation of NIL collectives and the sometimes contradictory policies intended to govern quid pro quo NIL deals between athletes and businesses.

Carefully interpreting current NCAA guidance will be central to navigating the new legal landscape. Businesses and students alike should seek legal advice in negotiating and drafting agreements that protect the interests of both parties while carefully considering the frequently conflicting state laws and NCAA policies that govern the student’s right to publicity.

ENDNOTES

1. Jeyarajah, Shehan, NCAA Board of Directors Issues NIL Guidance to Schools Aimed at Removing Boosters from Recruiting Process, CBS Sports (May 9, 2022, 6:00 PM).

2. Dodd, Denis, Boosters, Collectives in NCAA’s Crosshairs, But Will New NIL Policy Be Able To Navigate Choppy Waters?, CBS Sports (May 10, 2022, 12:00 PM).

3. Wilson, Dave, Texas A&M Football Coach Jimbo Fisher Rips Alabama Coach Nick Saban’s NIL Accusations: ‘Some People Think They’re God,’ ESPN (May 19, 2022).

4. DI Board of Directors Issues Name, Image and Likeness Guidance to Schools, NCAA (May 9, 2022, 5:21 PM).

Article By Jonathon K. Hance, Joshua H. Gold-Quirós, and Drew Taggart of Bracewell LLP

For more entertainment, art, and sports news, click here to visit the National Law Review.

© 2022 Bracewell LLP

Sex Education for Minors?

As we previously reported, this past fall, Governor Jerry Brown signed into law AB 2338, which includes a provision requiring minors 14-17 years of age and their parents/guardians to receive sexual harassment prevention training prior to the issuance of an entertainment work permit by the California Labor Commissioner.  Earlier this week, the Department of Labor Standards Enforcement (“DLSE”) published its guidance regarding AB 2338 on its website.  The DLSE’s very brief guidance does answer some questions regarding the new law, yet leaves some unanswered.

First, the DLSE’s guidance notes that applicants for 10-day temporary entertainment work permits are exempt from the training requirement.

Second, it provides two options for 13-year-old minors who will reach their 14th birthday during the period of a six-month entertainment work permit: (1) apply for a permit which will expire on the minor’s 14th birthday; or (2) the Labor Commissioner will issue permits to minors at least 13 years and six months of age, who provide satisfactory proof of sexual harassment prevention training as an age-eligible minor.

Third, the DLSE’s guidance specifies that the sexual harassment prevention training must at a minimum include the components specified in the Department of Fair Employment and Housing’s form, DFEH Form 185.  This form includes general information regarding sexual harassment as well as employers’ responsibilities related to sexual harassment. The training must be administered by a third-party vendor and may be provided electronically or on site, in a language the participants understand.

Although AB 2338 went into effect on January 1, 2019, the DLSE has stated that, due to the “unavailability of third-party vendors and applicable materials at this time,” the Labor Commissioner will not enforce the new law until June 30, 2019.  Even following the DLSE’s guidance, questions remain regarding the new law, such as the required length of the trainings and which vendors will be deemed acceptable.  MSK will continue to monitor this area and will provide an update via its blog upon any further developments.

 

© 2019 Mitchell Silberberg & Knupp LLP.

Consent Isn’t the Only Consideration: NY Comic Con Attendees Disagree that Hijacking Twitter Accounts Makes the Event “100x cooler! For realz.”

MintzLogo2010_Black

The comic book industry is no stranger to displays of heroic anger and berserker rage, but over the weekend New York Comic Con (NYCC) was on the receiving end of considerable fan fury after it began ghostwriting effusive tweets about NYCC and posting on the Twitter pages of NYCC attendees in a way that made it appear as though the attendee was the author of the tweet.

During the event registration process, NYCC attendees were given the option of linking RFID badges to their Twitter account through the event’s mobile application interface.  During the application registration process, attendees were asked to authorize NYCC to access their Twitter accounts.  At this point, attendees arguably consented to having NYCC impersonate the attendee when posting about NYCC on the attendee’s Twitter feed.

The NYCC website page explaining the ID badge technology and the site’s registration page did not mention that NYCC would be posting to attendee Twitter pages on the attendee’s behalf.  Rather, the registration process is explained as a method for giving the attendee access to enhanced social media content, while helping NYCC protect against fraudulent credentials.  The activation terms provided that NYCC could use the information collected through the badge “for internal purposes” and to contact the user about future events.  After a user registered his or her badge and elected to link a Twitter account, the user was presented with an opt-in notice (a screenshot of which can be seenhere), specifying that following authorization, the application would be able to, among other things, “post Tweets for you”.  This type of warning is not uncommon.  For example, any website that allows users to click to share news articles or stories on their Twitter pages requires this type of access.

In spite of the opt-in warning, the wide-spread surprise among attendees suggests that the opt-in language did not draw a clear distinction between posting tweets for a user and posting tweets as a user.  Moreover, the failure to mention this practice when explaining the registration process could have led attendees to conclude that even if they were agreeing to provide this type of access, NYCC would not be taking the unusual step of pretending to be the attendee when it published tweets on the user’s page.

NYCC’s initial response was a brief tweet telling attendees not to “fret” over the ghostwritten posts and informing attendees that the “opt-in feature” had been disabled.  However, after anger continued to spread, NYCC issued a longer statement apologizing for any “perceived overstep.”

This type of disconnect between online service providers and users is becoming increasingly common as advances in technology permit mobile device and social media data to be accessed and used in new ways.  Earlier this year, for example, Jay-Z and Samsung stepped into a public relations debacle when the “JAY Z Magna Carta” mobile application required that the user, in exchange for receiving a free music download, authorize the application to have extensive access to phone data and social media accounts. The response from NYCC attendees also underscores the lesson learned by Googleearlier this month, that consent provided by users who do not fully understand what they are consenting to may not be consent at all.

As your online business finds new and innovative ways to deliver products and services to your users, it is important to take a step back and consider whether additional communications in different formats, such as just-in-time notifications, are necessary to ensure that the only surprise your customers have is how great your products and services are.   Or, to put it another way, “with great power comes great responsibility.”

Article By:

 of

Cloning Decision Could Lead to Copycat Litigation in the World of Racing

Sheppard Mullin 2012

Owners of elite American Quarter Horses may soon be ponying up to create clones of their champions.

On July 31, 2013 a North Texas District Court jury decided that the American Quarter Horse Association’s (“AQHA”) rule prohibiting the registration of cloned American Quarter Horses violates federal and Texas antitrust laws. The AQHA, located in Amarillo, Texas, is the world’s largest equine breed registry and membership organization, with more than 5 million American Quarter Horses registered to nearly 350,000 members.

The American Quarter Horse excels at sprinting short distances and racing of these animals is the third most popular form of horse racing, generating more than $300 million in bets at U.S. racetracks in 2012. American Quarter Horses are bred to run in races of under a quarter-mile and have been clocked at speeds up to 55 mph.

Plaintiffs Jason Abraham and Gregg Veneklasen sued the AQHA for $6 million in damages, arguing that Rule 227(a) of the AQHA, which prohibits the registration of clones, violated both the Sherman Antitrust Act and the Texas Free Enterprise Act, which reflects federal antitrust law.

Plaintiffs alleged that the association’s prohibition of clones violates Section 1 of the Sherman Antitrust Act because the AQHA acted as a conspiracy that unreasonably restrained interstate or foreign trade. In response, the AQHA argued that the association is a single body and that the Board of Directors acted with a single interest, and therefore cannot be a conspiracy. Plaintiffs further alleged that the rule violated Section 2 of the Sherman Antitrust Act because the AQHA acted to maintain its monopoly power in the industry by enacting the rule. In response, the AQHA argued that the rule did not maintain monopoly power, but instead narrowed the association’s reach by reducing the potential universe of its registered horses.

On July 31, the jury found that the AQHA’s Rule 227(a) violated Section 1 and Section 2 of the Sherman Antitrust Act, as well as the equivalent Texas laws. In their decision, the jury awarded no damages, but could lead to the reversal of Rule 227(a) following an order the District Court Judge.

Johne Dobbs, the President of the AQHA’s Executive Committee, is reported as saying that the AQHA will appeal the North Texas District Court decision to the 5th Circuit, though it may be a year before a decision is made on the appeal.

A decision in favor of the AQHA by the 5th Circuit could have a reversing effect on a number of changes to AQHA rules since 2000, while a decision against could further cement the trend toward the AQHA being more inclusive. In 2000, a breeder sued the AQHA regarding the association’s rule that limited one registeredhorse per breeding pair per year, which thereby prohibited the use of embryo transplants to create multiple foals per breeding pair. The court held in an interlocutory order that the rule was an anticompetitive restraint of trade, adopted for the purposes of limiting the supply of registered quarter horses. Before a final order was written, the two parties settled and the AQHA changed its rules to allow for the registration of all embryo transfer foals. Since then, the AQHA has changed its rules to also register horses considered perlinos and cremellos to register, as well as horses deemed to be excessively white. The AQHA may be interested in pursuing a reversal to these changes if the 5th Circuit rules in their favor.

A decision against the AQHA could also lead to other breeder associations, including the American Kennel Club and American Paint Horse Association, to change their rules prohibiting the registration of clones.

An industry able to support quarter horse clones is likely ready to go if the courts side with the plaintiffs. Texas company ViaGen owns the patent that created the infamous cloned sheep, Dolly. The company has already cloned a number of horses, including Royal Blue Boon, the all-time leading dam of cutting horses with personal lifetime earnings of $381,764 and produce earnings of over $2.6 million. Hundreds of American Quarter Horse owners have already gene banked their horses in anticipation of the AQHA changing Rule 227(a).

Article By:

 of

The Financial Crises in Detroit and Spain and a New Round of Deaccessioning Debates

Sheppard Mullin 2012

When public institutions are suffering from financial deficits, one question is usually raised: can they sell art to survive? In the museum world it is generally understood that you are to deaccession art only if the work is duplicative of another work in the collection, or for similar collections-related reasons, and the sale proceeds are used exclusively for collections activities. Therefore, for example, you cannot seek to sell art to obtain sufficient liquidity to meet any financial obligation, or make debt service payments. There is little government regulation on deaccessioning (for example, the NY Board of Regents has the power to provide limitations on deaccessioning on New York museums chartered after 1890). However, private institutions such as the American Alliance of Museums (“AAM”) and the Association of Art Museum Directors (“AAMD”) have adopted for their members certain policy guidelines on deaccessioning. Their members are subject to sanctions such as censure, suspension and/or expulsion in the event they do not follow these guidelines.

This is the debate currently happening in the city of Detroit, which has recently filed for bankruptcy, and countries in Europe such as Spain, where steep cuts in its budget have affected state-sponsored museums such as the Prado museum.

As for Detroit’s bankruptcy, some have argued whether the Detroit Institute of Arts (“DIA”) should sell its artwork, yielding an estimate of $2 billion (the city of Detroit has a $20 billion debt). The DIA has 600,000 annual visitors and a collection of approximately 65,000 artworks. Michigan’s attorney general, Bill Schuette, has stated that DIA’s artworks were ‘held in trust for the public’ and could only be sold for the purpose of acquiring new art. Others have claimed that the collection should be sold to refrain Detroit’s retired employees from losing part of their pensions.

From a bankruptcy law perspective, municipalities, unlike businesses, cannot be forced to liquidate their municipal assets (the concept which provides that if a debtor wishes to reorganize it must provide creditors with at least as much as they would get in liquidation does not apply to municipalities). A municipal restructuring plan cannot be approved unless it complies with state law, and as mentioned above, Michigan’s attorney general issued a non-binding opinion stating that the artworks were held in trust for the citizens of Michigan, and thus cannot be sold.

As for Spain, the Spanish Official Gazette has published the annual statements of the Prado museum and one thing is clear: art is not immune to Spain’s recession. Patronage from the Spanish government had a 28% drop (from approximately €6.6 million to €4.8 million) in the last 2 years. However, rather than deaccessioning, this drop has been set off by increasing its international loans. Therefore, the museum authorities allocated these foreign loans receipts as deemed patronage, and this has allowed the museum to stabilize its balance sheet. The annual statements report that the main private sponsors for temporary exhibitions were Axa, Telefónica, BBVA and La Caixa, who contributed a total aggregate amount of €625,000. However, the statements do not specify how much the museums actually invested in setting up such temporary exhibitions. The Contemporary Art Institute (Instituto de Arte Contemporáneo) has been criticizing the lack of transparency in museums and art galleries that receive sponsorship or other type of financial assistance from the state. This Institute has created standards of best practices for contemporary art museums (the “Standards”), which attempt to follow the path of the AAM’s National Standards and Best Practices for U.S. Museums (see http://www.aam-us.org/resources/ethics-standards-and-best-practices/standards and http://www.iac.org.es/seguimiento-del-documento-de-buenas-practicas/documento-de-buenas-practicas-en-museos-y-centros-de-arte).

Spain’s Ministry of Culture was actively involved in drafting these Standards, which were revised and signed in 2007 by the Ministry of Culture, the Contemporary Art Institute, and other prestigious institutions, such as ADACE (Association of Directors of Contemporary Art in Spain), CG (the Consortium of Contemporary Art Galleries), UAAV (the Association of Visual Artists), CCAV (the Board of Critics of Visual Arts), and UAGAE (the Association of Art Galleries of Spain). As in the United States, the Standards are voluntary. The pressure by funders, regulators, the press and the public may be considerable, but museums still choose to follow, or not, the Standards. As of this date, of all 50 museums ranked by the Contemporary Art Institute, only two museums comply with the Standards’ minimum requirements: the Museo Nacional Centro de Arte Reina Sofía and the Artium.

Spain is also trying to overcome the steep cuts in state subsidies and public grants for art institutions by enacting a bill that will heavily increase tax benefits for museum’s private donors (mirroring the French system) through the Patronage Act (Ley de Mecenazgo). If this bill is passed, tax deductions will increase from 25% to 70% for natural persons, and from 35% to 65% for legal persons. Moreover, small donations of less than €150 will be fully deductible. The aim is to achieve France’s success, where revenues increased from €150 million to € 683 million in a seven-year period (2004 to 2011).

In conclusion, the vast majority of museums are nonprofit and ask for public support in return for providing some kind of public good. Thus, it is essential that museums are broadly accountable for their conduct, in particular in times of recession.

Should they sell part of their collection, or should they choose Spain’s path? i.e. advocate for a subset of artworks in the collection to be sent on a 10-year tour (or less) to museums around the world, receiving a revenue stream while having part of its collection available for the public as a representative and emissary of the city of Detroit? Or is there another path?

Article By:

 of

Fast Food Comes to Indian Country

Dickinson Wright Logo

In-N-Out Burger, the quintessentially Californian burger chain, will open its first restaurant on tribal land in early 2014 at the Morongo Casino on the Morongo Indian Reservation on the heavily trafficked Interstate 10. The reservation lies 90 miles west of Los Angeles and 20 miles east of Palm Springs. Similarly, the Wyandotte Nation of Oklahoma will open a Sonic restaurant on non-Indian land in Seneca, Missouri, about 10 miles from its Oklahoma reservation.

Fast-food restaurants have been noticeably lacking in Indian Country, primarily due to the lack of familiarity of restaurant franchises with tribal law. This is unfortunate as fast food is a perfect fit for tribal economic development. Fast-food restaurants are a magnet for highway traffic, bringing customers into the tribal business development that would otherwise not think to stop there. They complement tribally owned gas stations, gaming venues, and shopping centers with an inexpensive food alternative and bring in consistent revenue.

Deals may be as simple as a lease arrangement, as in the Morongo In- N-Out Burger, in which the franchise owner leases the land from the tribal owner and builds a restaurant there. Alternatively, the operation may be owned and operated by the Tribe, as in the Sonic restaurant, which is wholly owned by the Wyandotte Nation.

While tribally owned businesses operating on non-Indian land are clearly subject to local taxes, confusion surrounds taxation of non- Indian businesses on tribal land. In July, the Ninth Circuit precluded Thurston County in Washington State from imposing a property tax on Great Wolf Lodge, a waterpark on leased trust land, holding that state and local governments lack the power to tax permanent improvements built on Indian land. This means that a building owned by a non- Indian franchisee on tribal land is not subject to non-tribal property taxes. However, the Second Circuit recently decided that non-Indian personal property on tribal land – in that case, slot machines leased to the Tribe – is taxable.

Some fast-food restaurants on tribal land collect sales taxes for the tribe and other local governments. For example, while most businesses operating on the Navajo Reservation collect only a tribal sales tax of five percent, the McDonald’s restaurant in Shiprock, New Mexico, charges a 6.3 percent sales tax for San Juan County on top of the Navajo tax. While it is unclear that such a tax is required by law, some businesses may find it easier to pass sales taxes on to their customers than fight them.

With an ambiguous taxation framework, stand-alone businesses such as fast-food restaurants operating on tribal land must negotiate in advance who will pay these taxes should they be imposed and memorialize these decisions in the lease agreement.

Taxation is just one issue that makes doing business with Indian tribes unique. Other issues include tribal regulation, dispute resolution, and sovereign immunity. It is vital that experienced legal counsel be involved early in negotiations to ensure lasting and mutually beneficial businesses in Indian Country.

Article By:

 of

New Rules on Use of Child Models in New York

 

Katten Muchin

Historically, the laws in New York State regulating the employment did not include child models. However, the New York State Senate and Assembly has recently voted to pass legislation to ensure that child models will now be afforded the same protections as “child actors, dancers and musicians” working in New York. Such legislation, once signed into law, is expected to have a significant impact on the fashion industry.

Specifically, the new legislation will provide that companies employing models under the age of 18 will be required to obtain certificates of eligibility, to provide chaperones and tutors and to limit their work hours. In addition, the new legislation sets forth several new protections for child models, including: (1) if the model is under the age of 16, a “responsible person” must be designated to monitor the activity and safety for each model at the work place; (2) an employer must provide a nurse with paediatric experience (only applicable to infants); (3) employers must provide teachers and a dedicated space for instruction (generally, provided that the employment takes place on a school day and the child performer is not otherwise receiving educational instruction due to his or her employment schedule); (4) employers must provide safety-based instruction and information to performers, parents/guardians and responsible person(s); and (5) a trust must be established by a child performer’s parent or guardian and an employer must transfer at least 15% of the child’s gross earnings into the trust.

Further, child models will now also need to obtain work permits which would require not only the written consent of a parent or guardian, but also evidence that the model is maintaining the standards of academic performance from their enrolled school. The new requirements will be in addition to work hour regulations for child performers (which differ based on age, whether school is in session, and whether the performance is live or recorded) and limitations on the times along with the total number of hours that a child model can work.

Additionally, the employer must provide for meal and certain rest periods. Although the legislation does not specifically mention “fit models”, the spirit of the legislation is to ensure that child models have the same protections as other child performers. Therefore, it would be prudent for fashion companies to treat fit models in the same manner as runway and print models.

Once implemented, these regulations will be overseen by the Department of Labor which possesses far greater resources to enforce regulations than the Department of Education (which was the agency previously overseeing the regulations pertaining to the employment and education of child models in New York). Accordingly, companies employing young fashion models should be aware of, and anticipate planning for, the implementation of new legislation in New York (and any similar legislation in the jurisdictions in which they are based).

Article By:

 of

Crying Over Spilled Milk: What Companies Can Learn from the Paula Deen Disaster

McBrayer NEW logo 1-10-13

Paula Deen may be the most recent celebrity to ruin the brand she built, but she is certainly not the first. Consider Martha Stewart, Tiger Woods, and Lance Armstrong. At one point, all had an empire built around their name and reputation. And, just like that, all were vehemently vilified by the press and public when an aspect of their personal lives became front-page news, resulting in the swift destruction of their businesses.

PR disasters can happen faster than a boiling pot can run over, and as Paula Deen is learning, it is hard to contain the mess once it has been unleashed. Even if companies do not have a national celebrity as the face of their business, there is a lot they can learn from the Calorie Queen’s downfall.

Separate the brand from the CEO (or other high-powered figure)

We are all human. What happened to Paula Deen can happen to any business owner.  People make inappropriate comments, go to prison, sleep around, and take steroids (see above-named individuals). When your face is more than just who you are, though, you have to tread lightly in the public eye.  When your face is your brand, negative publicity affects business.

Food Network, Smithfield Foods, Wal-Mart, Novo Nordisk, and Home Depot did not drop Paula Deen because her products were not up-to-par. They dropped Paula Deen because her public image tarnished her brand.

A company should not rest on one person’s reputation, but should be built around principles, a mission, or a niche. That way, when the higher-ups make a mistake, the company can continue. With that being said, management and boards should be concerned with how the highly visible, well-known figures in their companies are behaving, whether they are on national TV or at a local charity gala. Employment agreements should always include expectations regarding behavior and how one represents the company. Extensive background checks should occur for any employee who could potentially taint the brand.

Act fast, but fully assess the situation

In the age of social media, an incident can lead to pandemonium in no time. Allegations can spread quickly and extensively. Whether, when, and why Deen may have uttered an offensive racial slur is of no matter because Facebook and Twitter reported that she did; that was enough for public conviction. If gossip is spreading about your business, do not be afraid to address it head-on through social media or a press release. But do not fall victim to knee-jerk reactions. Take time to investigate, come up with a game plan, and take necessary action before addressing the publicity. If the incident is so bad that your company’s future is on the line, then hire a PR team to step in.

Thank employees, customers and clients for loyalty

There are a lot of angry fans out there who think Paula Deen was thrown under the milk truck. In the midst of almost every PR crisis, there will be supporters. These people will stand by the company when others are jumping ship. Make your gratitude to them known, whether it is in the form of a bonus, sincere message on your company Facebook page, or a customer appreciation day. Find some way to turn the situation into a positive one.

We have likely not heard the last of Paula Deen. Her brand, though in the trenches now, may pull through. And there is always a scorned celebrity book deal to be made. Smaller companies may not recover so easily from PR blows. Business owners should always be monitoring their image and employees to minimize risks. HR departments should be pro-active. Expectations should be communicated. Professionals should be consulted if needed.

Article By:

 of

Does a Valid Copyright Exist in the Song “Happy Birthday To You”?

Mintz Logo

Ownership of a copyright in one of the most popular songs in the English language has recently been challenged in several lawsuits around the country.  At the heart of the dispute is whether the music publisher Warner Chappell legitimately owns a copyright in, and thus has the right to license (and enforce) the rights to, the ubiquitous song “Happy Birthday to You.”  Since it acquired a company in 1998 that claimed to own the rights in this song, some have estimated that Warner makes as much as $2M per year licensing the rights to use this song in various movies and television shows.  Two recently filed lawsuits are challenging this ownership claim and seek a ruling that the rights to the song have passed into the public domain.

The long and tortured history of the song, which has been methodically detailed by Professor Robert Brauneis in his excellent article on the topic, begins with the melody of the song which was originally written in the late 19th Century by two sisters, Mildred and Patty Hill.  Although there is still some dispute over the originality of the melody, Professor Bauneis’s research indicates it may have been wholly original even if loosely based on prior folk songs. What is undisputed, however, is that the Hill sisters’ melody was first published in a collection of children’s songs in 1893.  That melody (with different lyrics) was originally titled “Good Morning to All,” and was intended to be used as a greeting by teachers to their students.  What may be forever lost to history is who combined the current words with the Hill sisters’ melody and when. There is evidence from as early as 1911 that the current words and melody (i.e., the “Good Morning to All” melody) were being used together.

 Warner argues that its rights stem from two principal sources acquired over the years through many corporate mergers: (1) a 1935 piano arrangement of the melody of the song, which critics have noted is a specific arrangement of the song that is not the popular version known today, and (2) a copyright registration in a 1924 songbook containing the lyrics.

The suits challenge Warner’s claimed rights on several grounds. One is lack of originality. To be protected by copyright, a work must be sufficiently “original.”  Plaintiffs allege that Warner’s claimed versions of the song are not original enough, and do not protect the version of the song we know today.  Second, they allege that the version of the music in which Warner claims rights, the specific 1935 piano arrangement of the song, is not sufficiently similar to the current version to enable it to claim any rights in the current version. Finally, according to the Plaintiffs, any copyright in the prior versions expired long ago, either through term limits on copyright protection or through the failure of the original owners to properly renew those rights many years ago.

Since the license fees Warner charges for use of the song are not exorbitant, there has been little financial incentive for anyone to take Warner to court over the rights to the song. Since multiple litigations are now pending, there will likely be amicus briefs filed on plaintiffs’ side from many sources. This “crowdsourcing” of history, knowledge and effort (and cost) in re-creating as accurate a picture as possible of the history of the rights of this song is probably the best chance yet of getting to the bottom of the long open question regarding the ownership of “Happy Birthday to You.”

Article By:

 of

Handbags and High-Heeled Shoes: Recent Trademark Disputes in the World of Fashion

Dickinson Wright Logo

When Paul Simon first sang about “diamonds on the soles of her shoes” in the 1980’s, he was apparently more fashion forward than we realized.  Less than a decade later, in the early 1990’s, the fashion house of Christian Louboutin began selling women’s high-fashion designer footwear displaying a distinctive red, glossy sole on the bottom of high-heeled shoes. Legend has it, Louboutin came up with the idea when he painted red nail polish on a pair of women’s shoes because they “lacked energy.”  These shoes soon became highly sought after by celebrities and consumers of haute couture everywhere.

Louboutin federally registered its red-colored sole for footwear as a trademark with the U.S. Patent and Trademark Office in 2008. In 2011, Louboutin sought to enforce those rights by suing Yves Saint Laurent for selling red shoes that displayed red soles. In its Resort 2011 collection, the American branch of YSL featured purple, navy, green…and red shoes that all had soles of matching color. Louboutin took exception to the red-soled shoes and tried to stomp out YSL’s allegedly infringing activity.

At the district court level, a New York judge ruled against Louboutin’s request that YSL be enjoined from selling red-soled shoes. On appeal in September of 2012, the U.S. Court of Appeals for the Second Circuit expressly held that Louboutin could protect its iconic red-soled shoes, except when the entire shoe itself is red.  Therefore, YSL was allowed to continue selling its monochromatic red shoes. Both parties have claimed victory and the case was dismissed in December.

The defendant in a case brought by Coach, Inc., and recently decided, did not fare quite so well. In 2010, Coach sued the owner of the Southwest Flea Market located in Memphis, Tennessee for contributory trademark infringement, claiming he knew, or should have known, that some of the vendors at the flea market were selling counterfeit Coach Handbags and other infringing products. Prior to filing suit, Coach had sent letters to the defendant, putting him on notice of the infringement. Even after the filing of the suit, multiple raids were conducted at the flea market, and more than 4,600 counterfeit Coach products were seized.

In the case pending in the U.S. District Court for the Western District of Tennessee, the magistrate judge granted summary judgment to Coach in 2012, ruling that the owner of the flea market was contributorily liable for the infringement, and the jury awarded Coach more than $5 million in damages. The case was appealed and last month the U.S. Court of Appeals ruled, for the first time ever, on the question of whether the owner of a flea market can be held liable for contributory trademark infringement. The answer was a resounding “yes”, as the court upheld the lower court’s ruling and the $5.04 million damage award. In its ruling, the court admonished the flea market owner for engaging in “ostrich-like behavior”, willfully ignoring the infringing activities occurring at the market, showing that the high price of fashion applies not just to the cost of the merchandise, but also to not respecting the trademarks by which that merchandise is known.

Article By:

 of