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James Creedon
Photo by   Bill Oxford

Photo by Bill Oxford

Earlier this year, Fiat Chrysler Automobiles (FCA) reached an $884 million settlement with consumers and various governmental agencies to resolve its longstanding diesel emissions scandal. In short, FCA was accused of programming its emissions control software in certain engines to detect when regulatory tests were being run, and manipulate the emissions down to required levels in only those situations—resulting in illegal emissions levels during normal driving conditions. FCA allegedly had violated the Clean Air Act and other federal laws and regulations, and paid significant penalties to resolve the government’s claims.

However, the DOJ and FBI have now taken their prosecution of this matter a step further. On September 24, 2019, they brought a criminal indictment against a mid-level manager at FCA. Emanuele Palma worked in the diesel drivability and emissions group at FCA, and is accused of intentionally calibrating emissions systems to produce fewer emissions when on federal test simulations than during normal driving. He is charged with lying to federal regulators by submitting applications containing false and misleading representations, as well as during in person meetings and in response to written requests for information.

The fifteen criminal counts levied include violations of the Clean Air Act, wire fraud, making false statements to multiple federal agencies, and conspiracy to defraud the United States. While similar scandals have sometimes resulted in criminal indictments of high-level executives, this case marks a more aggressive stance by the government in prosecuting an individual employee. In its press release, the DOJ emphasized that “[t]he indictment in this case should signal to corporations and individuals working for them that there are significant consequences for attempting to bypass US emissions tests and defraud the American people” and that “[c]heating government regulators, customers, and the public for increased sales and compensation will be prosecuted by the Department of Justice to the fullest extent of the law[.]”

Many times it may be natural for employees to believe that actions they take while at work or on behalf of their employer are “company” actions, and that required training sessions are simply instructions as to how the company wants its business to operate. Employers should make clear when training includes legal or regulatory requirements. As this example demonstrates, it is important for employees to understand that there can be significant consequences to violation of relevant laws and regulations—not only for the company, but for the employee personally.

For more information on this article and this topic, contact Mark Killingsworth.

James Creedon
Photo by  Tim Gouw  on  Unsplash

Photo by Tim Gouw on Unsplash

The Americans with Disabilities Act of 1990 (“ADA”) prohibits discrimination against individuals with disabilities in all public and private areas open to the general public. The ADA’s purpose is to ensure that people with disabilities have equal rights and opportunities as those without disabilities, and it is divided into five titles that relate to different areas of public life. The most significant amendment to the ADA, the Americans with Disabilities Act Amendments Act (“ADAAA”), was signed into law in 2008 and became effective on January 1, 2009. Importantly, the ADAAA made a number of changes to the definition of “disability,” even re-defining private entities that are to be considered places of “public accommodation” that fall under Title III of the ADA.

Title III of the ADA is regulated and enforced by the U.S. Department of Justice, and it prohibits private places of public accommodation from discriminating against individuals with disabilities—including privately-owned, leased, or operated facilities. Title III further sets the minimum standards for accessibility, necessary “reasonable modifications” of facilities, and new construction of facilities.  

Recently, a number of lawsuits have put increasing pressure on Major League Baseball (“MLB”) organizations and their stadiums to adhere to the most-recently revised ADA guidelines—the 2010 ADA Standards for Accessible Design (“2010 Standards”). These lawsuits allege that some MLB stadiums built prior to the enactment of the 2010 Standards fail to provide people with wheelchair-accessible seats sufficient sightlines over spectators, in violation of the ADA. The lawsuits further allege that nearly all wheelchair-accessible seats either have obstructed views or are much farther away from the playing field as other seats—giving fans without disabilities a more exciting, immersive, and enjoyable experience than those forced to sit in the current wheelchair-accessible seats. 

In order to comply with modern ADA requirements set by the 2010 Standards, older MLB stadiums and arenas across the United States that currently fail to adhere to these guidelines will be required to undergo significant (and expensive) renovations—many of which very well may hinder operations in MLB organizations. The 2010 Standards will certainly be enforceable against stadiums built after 2010, but the ultimate question is whether stadiums that complied with the previous, more ambiguous regulations will now be forced to comply with the new, more stringent ADA guidelines. The question still remains pending the outcome of the various lawsuits, so until there is a decisive ruling, no one will know whether the MLB organizations will be forced to “play ball” with the various plaintiffs, or whether the plaintiffs will strike out.

For more information on this article and this topic, contact Charles Wallace.

James Creedon
Photo by  Annie Spratt  on  Unsplash

Photo by Annie Spratt on Unsplash

You’ve worked hard. You’ve built your brand and your business. You’ve taken prudent steps to protect it—registering trademarks, obtaining insurance coverage, and implementing important training and procedures to ensure safe, legal, ongoing operations. You may still be growing, but you are profitable and successful. You are proud of your business, and increase its visibility in the marketplace by putting its name and logo out there for all to see. Then an accident happens.

Maybe a customer is injured using your product. Maybe a company vehicle is involved in an automobile accident. Maybe a vendor—or employee—is injured on a jobsite. After the initial response of concern for those injured, a fear begins to well up in the back of your mind. What if my success has made me a target?

Regardless of whether justified, it is common for those injured to seek recovery when a company logo appears on the product, uniform, building, or vehicle involved. When an incident occurs, it is important to take appropriate action from the outset to protect your business and brand.

First, ensure anyone involved receives appropriate emergency treatment. Everything else can wait.

Next, begin to document everything you can. Take photographs of the scene before, during, and after any changes are made to it. Write down what happened if you witnessed it, or what others are telling you—and who said it—if you didn’t. Take down the names and contact information of any other witnesses, as well as any first responders who are present. These will be important people to be able to reach should a claim or lawsuit ensue.

Immediately report the incident to your insurer, who will have a process to work through as the investigation proceeds. In the days that follow, ensure that everything related to the incident is retained—emails, reports, witness statements, or other documents. Instruct your staff in this regard, and establish a central repository for collection of any related materials. If a lawsuit arises, you could be responsible for any information you did not secure.

Consider whether to retain counsel in advance of litigation. Many times an injured party’s attorney will issue harsh demands quickly. While your insurer may defend you in a lawsuit, you may need to seek legal counsel before a lawsuit is filed or before your insurer has completed its investigation process. While some claims are resolved pre-litigation, involving litigation counsel early can be helpful in that someone is guiding the process with an eye toward how each development will affect a lawsuit down the road. 

Finally, keep calm. When it’s your business, that you’ve built, it’s difficult. It’s personal. But letting that show through will only escalate the situation. Instead, keep doing what you’ve always done: protect your brand and business.

For more information on this article and this topic, contact Mark Killingsworth.

James Creedon
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On June 29, 2019, James Creedon joined David Ritter of Ritter Spencer to discuss The Current State of Hemp in Texas. This presentation, hosted by the Texas Cannabis Business Alliance, was attended by a wide variety of entrepreneurs at the Sapphire Risk Advisory Group.

Discussing the effects of Texas House Bill 1325, this event covered topics ranging from the process required for industrial hemp production in Texas to the implications for marijuana criminal prosecutions in the state.

For more information about this presentation, please contact us by email at contact@creedonpllc.com or by phone at 972-850-6864. A copy of the presentation slides can be viewed and downloaded below.

The Current State of Hemp in Texas from James Creedon
James Creedon
Photo by  Arisa Chattasa

Photo by Arisa Chattasa

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After countless hours of work, you have finally settled on the trademark which will be your core brand. The words you’ve chosen perfectly fit your vision, and you’ve taken every step you need to secure your presence and begin to build “the next big thing.” Domain names? Check. Social media profiles? Check. Federal trademark application? Check. In fact, your trademark application went straight through with no issue, and now you know that a Trademark Examiner has looked it over and given it the go-ahead. The only thing left is for the mark to be “published” and you’ll finally be at the point of receiving your trademark registration certificate.

And then you get a Notice of Opposition.

What is a Trademark Opposition?

In the normal course of a trademark application, a Trademark Examiner reviews the file to decide if there are any obstacles to registration. These include procedural errors in the filing, potential confusion with other trademarks, or issues with the mark itself which won’t allow it to actually function as a trademark. If the Trademark Examiner doesn’t identify any obstacles, the mark is ready to be published in the Trademark Official Gazette, which the United States Patent and Trademark Office (USPTO) issues weekly.

In this public document, the USPTO provides a snapshot of the trademark application (see the STARBUCKS application for “Alarm clocks; Clocks; Watches; Wristwatches” below). For the next 30 days after this publication, any party believing it may be damaged by the trademark being registered can either oppose the mark or can request 30 days more to decide. If either of these two steps happen, the trademark application process is paused until the underlying issue gets resolved.

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Why Do Trademarks Get Opposed?

Although Trademark Examiners take steps to determine if there are obstacles to a registration, they can’t be aware of every potential issue. Further, at times the Trademark Examiner may believe that another trademark isn’t an obstacle at all — but the party owning that trademark certainly does. When this happens, the owner of that other trademark may decide that filing an opposition and holding up an application is the best way to protect their rights.

In seeking to protect the valuable intellectual property of a trademark, an owner may decide that a mark about to be registered presents a risk. That mark may cover similar types of products, and the owner is concerned that an ordinary consumer would be confused as to who is providing what. On the other hand, the product offered may be very different, but the trademark owner doesn’t want the public to associate them with that offering. Lastly, and unfortunately, at times a trademark owner may oppose simply to obstruct a legitimate application in hopes of limiting or delaying competition in the marketplace.

Regardless of the reason, a trademark opposition will cause delay in an application’s march towards full registration.

First Steps When Your Mark is Opposed

If your trademark application faces an opposition, or even a letter threatening such, you should contact experienced trademark counsel immediately. An early analysis may help reduce delays and costs, as each opposition is different and the underlying law is constantly changing.

In Part 2, we will introduce the timeline of a trademark opposition and identify methods used to efficiently resolve these matters.

James Creedon
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On March 9, 2019, James Creedon joined Richard Cheng of DLA Piper to discuss the many legal issues to consider when starting or growing a business in the cannabis industry. This presentation, hosted by the Texas Cannabis Business Alliance, was attended by a wide variety of entrepreneurs at the Communion Neighborhood Cooperative and was divided into three sections:

The first section was an overview of the current legal status of cannabis laws and regulations on the federal and state level, and included discussion of legislation pending in the U.S. Congress and the Texas legislature. The second section used an example business to walk through the immediate challenges faced by cannabis industry companies in Texas, addressing topics such as the legal status of CBD, industrial hemp farming, and the Texas Compassionate Use program. The final section identified the importance of good business practices and the use of resources such as the TCBA to connect with other industry members and start informed on changes in the law.

For more information about this presentation, please contact us by email at contact@creedonpllc.com or by phone at 972-850-6864. A copy of the presentation slides can be viewed and downloaded below.

Protecting & Building Your Cannabis Brand from James Creedon
James Creedon
Photo by   Claire Anderson

Photo by Claire Anderson

This morning, copyright attorneys, applicants, registrants, and common law owners were finally given definitive judicial guidance on a concept that has been in dispute for years—whether a copyright owner must have an official federal copyright registration in order to file a copyright infringement suit. Turns out the answer is “yes.” 

The issue has long depended on the definition and application of the word “registration” in Section 411(a) of the Copyright Act, which provides that “no civil action for infringement of the copyright in any United States work shall be instituted until preregistration or registration of the copyright claim has been made in accordance with this title.” There are two distinct camps of interpretation pertaining to this section of the Copyright Act—the “registration approach” and the “application approach.”

The Tenth and Eleventh Circuits have maintained the “registration approach” to Section 411(a), which relies on a plain language reading of the statute that “registration” is not “made” until a copyright application is accepted and a registration certificate is issued. Thus, merely filing a copyright application is not the “registration” required prior to filing suit. The Ninth and Fifth Circuits have maintained the “application approach,” which is much more sympathetic to copyright owners who may not have had a chance to procure a copyright registration prior to their works being infringed upon. Courts following the “application approach” argue that the Section 411(a) definition of “registration” is ambiguous because some sections of the Copyright Act indicate there are no prerequisites to registration other than a completed application. These courts have held that, as long as a common law copyright owner took the necessary steps to procure a copyright registration (submitting the copyright application, the work, and the necessary fees to the U.S. Copyright Office), the copyright owner should not be precluded from initiating a copyright infringement suit. In fact, the effective “registration” date listed on a copyright certificate is not the date that the U.S. Copyright Office accepts and registers the work, but the date the applicant filed the application. The other Circuits have either supported both approaches, stayed silent on the matter, or have expressly refused to decide one way or the other. This circuit split has long plagued the U.S. judicial system and frustrated artists hoping to grasp their works back from infringers.

Perhaps to the dismay of unregistered copyright owners and pending applicants, the split is no more.

This morning, the U.S. Supreme Court stepped in to settle the matter—officially adopting the “registration approach.” Justice Ruth Bader Ginsburg delivered the unanimous opinion in Fourth Estate v. Wallstreet.com, et. al., holding that copyright registration occurs—and thus, a plaintiff can only bring a copyright infringement action—once the U.S. Copyright Office issues an official registration. Additionally, after such registration has been granted, a copyright owner can sue for infringement that occurred both before and after registration. The Court held:

Registration occurs, and a copyright claimant may commence an infringement suit, when the Copyright Office registers a copyright. Upon registration of the copyright, however, a copyright owner can recover for infringement that occurred both before and after registration. Pp. 3–12. (a) Under the Copyright Act of 1976, as amended, a copyright author gains “exclusive rights” in her work immediately upon the work’s creation. 17 U. S. C. §106. A copyright owner may institute a civil action for infringement of those exclusive rights, §501(b), but generally only after complying with §411(a)’s requirement that “registration . . . has been made.” Registration is thus akin to an administrative exhaustion requirement that the owner must satisfy before suing to enforce ownership rights.

Notwithstanding, the Court recognized there were limited circumstances where a copyright claimant could bring an infringement suit prior to registration, such as a copyright owner who is preparing to distribute a type of work particularly vulnerable to predistribution infringement—e.g., a movie or musical composition—or a copyright owner of a live broadcast. 17 U.S.C. §§ 408(f)(2), 411(c).

This ruling means that copyright claimants must wait a longer period of time prior to bringing a valid copyright infringement suit, for the administrative process of copyright examination can take months to complete. Nonetheless, the U.S. Copyright Office gives copyright applicants the option of paying a substantially higher copyright application fee to expedite an application’s examination procedure through the Special Handling process. Copyright claimants still have the ability to recover compensatory damages incurred before and after the registration issues, so this process is, at worst, merely a procedural annoyance.

The lesson here is not a new one—anything of actual worth should be protected. Copyright owners seeking to protect their work from infringement should consider registering their work with the U.S. Copyright Office. Registration can establish a public record of a copyright claim and a registration certificate may be offered as prima facie (accepted as correct until proven otherwise) evidence of the validity of a copyright registration. Further, copyright registrations can be recorded with the U.S. Customs Service to prevent the importation of counterfeit copies. Lastly, if a work is registered prior to commencement of an infringement (or within three months of the first publication of the infringement), a litigant may be entitled to attorneys’ fees and statutory damages.

Read the Court’s full opinion here.

For more information on this article and this topic, contact Charles Wallace.

James Creedon

Many of us know that “authors” can seek federal copyright protection, and many of us also know that “common law” copyright protection exists the moment a copyrightable work is created, but not many people understand what an “author” is within the meaning of the Copyright Act. An author does not need to be a writer or a painter — an author is simply the creator of an original expression in a work. Section 102 of the Copyright Act explains that copyright protection exists in the following categories:

  1. literary works;

  2. musical Works, including any accompanying words;

  3. dramatic Works, including any accompanying music;

  4. pantomimes and choreographic works;

  5. pictorial, graphic, and sculptural works;

  6. motion pictures and other audiovisual works;

  7. sound recordings; and

  8. architectural works.

Photo by  Michael Afonso  on  Unsplash

Photo by Michael Afonso on Unsplash

Numbers 1, 2, 5, 6, and 7 are pretty straight-forward, and many of us have seen messages telling us that copyright law protects written works, music, pictures, and movies. The other areas are less-known — particularly that a series of body movements can actually be copyrighted. This has not always been the case, however. Prior to the Copyright Act of 1976, choreography was not copyrightable subject matter, and the only way a choreographer could obtain protection against an unauthorized performance was to try and register the dance as a “dramatic composition.” The choreography had to, in a sense, tell a story, portray character, and depict emotion in order to be afforded protection.

Today, in order to be eligible for copyright protection, a choreographed dance must have been entirely originated by the author and must contain at least a small amount of creativity. This threshold is relatively low, so as long as a choreographer creates a choreographed routine of more than a couple moves and steps without copying another’s work.

Although Loie Fuller sued another dancer for performing her “Serpentine Dance” choreography in 1892, and Anne Teresa De Keersmaeker accused Beyoncé of stealing several of her ballet moves in 2011, historically choreographers have not aggressively sought to enforce their rights when it comes to others infringing their choreography. 

Recently, however, Big Freedia filed a federal lawsuit against her former choreographer Wilberto Dejarnetti, seeking a declaration that she owns the choreography for seven dances the two worked on together. Similarly, rapper 2 Milly recently exposed video game developers Visual Concepts and Epic Games for incorporating his viral dance, the “Milly Rock,” into their games — NBA 2K18 and Fortnite, respectively. Visual Concepts includes the Milly Rock as a randomly occurring component of the NBA 2K18 game, but Epic Games designed the Milly Rock (or the “Swipe It,” as it is called in-game) to be an “emote” that can be purchased by Fortnite players for real money as of the Season 5 update. Similarly, Rapper BlocBoy JB recently exposed Epic Games for incorporating his “Shoot Dance” (made famous in 2017 when it was incorporated in Drake’s music video “Look Alive”) into the Fortnite Season 4 update (calling the dance “The Hype”).

So what is all the hype, after all? Why are some artists so worked up about others copying their dance moves? How does this notion of protecting choreography promote copyright law’s purpose of promoting the progress of science and useful arts? These issues implicate a series of questions that must be considered in turn when determining whether a choreographed work can be afforded copyright protection: (1) is the dance original, (2) is the dance “fixed” in a “tangible medium of expression,” (3) is the dance adequate to qualify as protectable choreography under the Copyright Act, and (4) does the choreographer legally own the dance moves?

The first question is easily answered — either the choreography is original or it is copied. Original expression is protectable, and copied material, without more, is not. 

The “fixation” into a “tangible medium” requirement is also easily met, as many choreographers use their own unique form of written shorthand, or “labanotation,” to record the nature, structure, sequence, and timing of movements. Additionally, a choreographer can “fix” the sequence of movements into a tangible form by recording a video of the movements.

The Copyright Act does not protect a single dance move, but it does protect “choreographic works” — meaning a choreographer must include a series of more than just a couple steps or moves in order to qualify for copyright protection. Copyrighting individual steps would not advance copyright law’s purpose of promoting the progress of science and useful arts because such would afford choreographers a monopoly in single movements — thus severely limiting the scope of creativity in future choreographers. Dance would cease to exhibit a series of polished, recognizable moves and would evolve into an amalgam of unconventional, eccentric chaos (although this is an interesting visual). Dance would, in essence, cease to be “dance.” Thus, in order for a choreographed dance to be eligible for copyright protection, a number of dance movements and patterns must be combined into an expressive whole. Although there still exists the ethical dilemma that a particular dance “move” could be diluted or disassociated with the originating performer, this is not a consideration that the Copyright Act currently contemplates.

Oftentimes, choreographers work with directors or producers in creating a show that incorporates the choreography into a number of other elements. The essential question in these situations is whether the choreography was developed as a “work made for hire” or as a work by an “employee.” When the choreography is created in the normal course of regular employment, it is considered a “work made for hire,” and the employer enjoys authorship of the work rather than the employee who created it. However, when a choreographer is specially commissioned to choreograph particular dances, then the work is not considered a “work made for hire” unless there is a signed written agreement expressly stating that the work is a "work made for hire."    

There are a number of legal issues to consider when deciding whether a choreographer enjoys copyright protection in a choreographic work. As we see more and more infringement allegations pertaining to choreographic works pop up in the media, perhaps game developers, performers, and other choreographers will begin to be more cognizant about whether a particular move can and should be used. The best rule of thumb is to avoid stepping on anyone else’s toes — stick to the moves you know.

For more information on this article and this topic, contact Charles Wallace.

James Creedon
Photo by  Enrico Mantegazza  on  Unsplash

Photo by Enrico Mantegazza on Unsplash

I am often asked to update a company’s handbooks, contracts, and policies, or to prepare these important documents when none existed. Unfortunately, the first test of the enforceability and utility of these writings comes at the worst possible time for the employer – when needed to justify and support a termination or, even worse, in litigation. When a company is just starting out, there are so many moving pieces to get the business off the ground that, by necessity or inattention, the documents dictating important relationships go by the wayside. Sometimes new business owners will resort to short cuts like searching the internet for something that seems to fit. However, it is often unclear where the language in these documents came from, which state and federal laws apply, and whether the document takes account of changes in authorities such as statutes or administrative regulations. Regrettably, the business owner will generally only discover these issues when the documents become critically important – too late in the game.

Careful preparation of your contracts and policies allows you to think through these questions proactively. For example, one way of drafting may dictate where any litigation occurs – preferably in your preferred courts – whereas another leaves room for the other side to choose where and how to bring a case. With that in mind, here are some points to keep in mind:

  1. CONSIDER INCLUDING VENUE AND FORUM PROVISIONS IN YOUR CONTRACTS AND USING ARBITRATION AGREEMENTS FOR YOUR EMPLOYEES. Including a dispute resolution process in your employee agreements affords you notice before things get out of hand, and can solidify your position by allowing you to determine when, how, and where matters get brought before a court. Additionally, language requiring notice of claims, or requiring that you have the opportunity to cure any alleged issues, can potentially save a relationship before things become irreconcilable. 

  2. INCLUDE NOTICE AND OPPORTUNITY TO CURE PROVISIONS IN YOUR CONTRACTS WITH VENDORS AND BUSINESS AFFILIATES. Similarly, with regard to your vendors and other contracted parties, a robust dispute resolution process can require not only advance notice, but resolution opportunity steps before launching into costly litigation. Advance notice can allow you to get in front of potentially problematic terminations. A jury waiver or arbitration clause can be imposed to lessen the damages potential of a jury verdict, and place decisions in the hands of a former judge or attorney who may be better able to understand the legal issues involved. 

  3. CAREFULLY REVIEW THE CLAUSES IN YOUR EMPLOYEE HANDBOOK. Your company handbooks is your employee’s first experience with understanding how you want to run your business. How lenient do you want to be with absenteeism, or is it critical to your business that your employees show up on time and provide advance notice of absences? Do you want to pay out unused vacation when an employee quits? Do you want the option to withhold pay if an employee leaves owing money? What kind of disciplinary policies do you want to implement? These very important questions can be addressed in a well written and considered handbook. From a practical perspective, these policies will come into play when you terminate an employee and they seek unemployment. The availability of unemployment benefits for a terminated employee can depend on whether there was a policy in place to address the conduct at issue, and whether you provided warnings prior to the termination. Therefore, to manage your unemployment claims, it is important to address in writing conduct that will constitute grounds for termination. It is also important that the employee understand those grounds in order to adjust conduct accordingly.

In the bustle of starting or scaling a business, remember the phrase “don’t rush to failure.” Careful planning at the early stages may pay dividends for years to come, providing a solid foundation on which to build your vision.

James Creedon
Photo by  NeONBRAND  on  Unsplash .

Photo by NeONBRAND on Unsplash.

Most everyone has attended a live music concert at one point or another (if you haven’t, you’re really missing out on a significant facet of life — get out more), but almost no one is lame enough to simultaneously consider the legal implications of what they are watching (notice I said “almost” no one). I have been attending live music concerts, theatrical and dance performances, and other “gigs” since a very early age, and I have always been fascinated by the creativity required in putting together a show. How much of the musical performance, however, really belongs to the performers (or group, company, etc.), and how much of it was taken? Moreover, how much of another’s work is allowed to be performed without permission, if at all?

I became an attorney, in part, to learn the answer to these types of questions inherent in the entertainment industry. Much to my dissatisfaction, I learned that the answer is largely “it depends” — any attorney can tell you that. However, the question of “what material is a band allowed to perform” can be answered with relative certainty, especially when it comes to a band playing another artist’s song publicly.

First, some context:

In the music industry, there are two different types of copyrights: (1) Musical Works and (2) Sound Recordings. A musical work, or simply, a “song,” is both the lyrics and music that make up the written musical composition itself. A sound recording, on the other hand, is a work made up of recorded sound. The owner of a Musical Work copyright often owns both the copyright in the song itself and the copyright in the Sound Recording of that same song (if one exists). 

Among the exclusive rights granted to copyright owners in the music industry is the right to publicly perform the song (see 17 U.S.C. §106(4)) and to perform the sound recording of the song through digital transmission (see 17 U.S.C. §106(6)). For example, if a guitarist plays the all-too-familiar guitar riff to Led Zeppelin’s “Stairway To Heaven” in a public place without permission, that infringes on the band’s Musical Work copyright. Similarly, playing the band’s original recording of the song off a CD or audio track in public would infringe on the band’s Sound Recording copyright. This is where the Performance Rights Organizations (“PROs”) come in.

A PRO, like the American Society of Composers, Authors, and Publishers (“ASCAP”) and Broadcast Music, Inc. (“BMI”), licenses the public performance rights of their songwriter, composer, and producer members to users such as restaurants, bars, and radio stations. These “blanket licenses” give licensees access to a PRO’s full database of songs without licensees having to procure individual licenses from each member of a PRO and without rights holders having to solicit individual licenses to potential customers. Generally, a band does not need a license to perform a cover song live because it is the club, restaurant, or concert venue’s responsibility to obtain the necessary public performance licenses from the PROs. This does not mean, however, that the band is completely insulated from liability when publicly performing others’ songs.. 

Although it is the audience’s job to enjoy the musical performance, show, or concert (or in my case, to spend half my time considering the legality of what I am witnessing), it is the band’s job to make sure its performance is compliant with laws meant to protect artists from infringing and “free-riding” on others’ work. With respect to the everyday garage band, live musician, or recording artist, here are some helpful notes that may help one avoid a potential lawsuit from infringing on another’s public performance rights: 

  1. Play your own material. I can’t stress this enough — this is, by far, the safest (but not always the most fun) way to insulate yourself from copyright infringement liability. You can’t infringe on your own copyrights, so create away, and play to your heart’s content (then make sure other bands aren’t using your material).

  2. Check whether the performance venue secured PRO licensing. If a venue has opted not to buy any music performance licenses from any PROs, then it might tell you that you cannot play any other band’s material (“cover” songs). In this case, try to respect this request and refer back to Note 1 above. When in doubt, ask!

  3. If necessary, purchase your own PRO license. If your show is largely comprised of others’ material, and if the venue you are performing at does not have a license, it is best practice to check with the applicable PRO to see whether they require you to purchase your own license. 

These three steps only speak to performing others’ material in full and does not contemplate other types of use such as sampling, parody, and other fair use. Copyright is a complex and specialized area of the law, so it is best to revel in your own creativity and avoid using another’s work. Or consult the PROs.

For more information on this article and this topic, contact Charles Wallace.