Viola player’s claim for damaged hearing succeeds in the High Court
UK

HEALTH & SAFETY Live events sector   Chris Goldscheider, a former Royal Opera House viola player has won a landmark High Court judgment after he suffered a life-changing hearing injury at a rehearsal of Wagner’s Die Walkure in 2012. The claim came from a rehearsal on the 1st September 2012, Mr Goldscheider was seated directly in front of the 18 strong brass section of the orchestra for a rehearsal in the orchestra pit at the Royal Opera House. Evidence presented showed that during that rehearsal, the noise levels exceeded 137 decibels, roughly equivalent to that of a jet engine 100 feet away. Despite wearing ear defenders Mr Goldscheider’s hearing was irreversibly damaged and he claimed damages for acoustic shock, a condition with symptoms including tinnitus, hyperacusis and dizziness. He told the BBC: “With this condition if you are exposed to normal sounds, unfortunately they become incredibly painful” adding “I suppose the nearest analogy is if you imagine for a normal person to walk on normal ground and then you imagine walking barefoot on glass.” Mr Goldscheider studied in Prague and the UK and played with the Royal Liverpool Philharmonic and BBC Symphony orchestras. In 2002 he joined the viola section of the…

Tulisa wins a massive ‘scream & shout’ pay out
UK

COPYRIGHT Music publishing   Former N-Dubz member and X-Factor judge Tulisa Contostavlos has reportedly won a 10% share of the songwriting income from the Britney Spears and will.i.am track ‘Scream & Shout’ after a six year dispute over who should share the royalties from the hit song.   Contostavlos argued that she had collaborated on an original version of the song ( then called I Don’t Give A F**k) with producers Jean Baptiste and Jef Martens, who work with will.i.am, the plan being to include it on her album ‘The Female Boss’. However the producers didn’t use the song  and instead Will.i.am used the song for a track featuring Britney Spears, with Spears apparently providing the vocals using Tulisa’s original vocals as a guide. The track ended up on will.i.am’s album ‘#willpower’ in 2012, accredited to Britney Spears and will.i.am. Tulisa, 29, immediately filed a claim and all income for the Number 1 hit was frozen by the court.   As the legal dispute continued, Tulisa insisted that Will.i.am and Britney’s version still included parts she had written including the line: ‘When you hear this in the club, you’d better turn this s**t up.’ It also transpired that some of Contostavlos’s vocals were still present on the final…

Viagogo faces more problems in the UK market
UK

CONSUMER / COMPETITION Live events sector   The UK’s Competition and Markets Authority (CMA) has indicated that it will take action against Viagogo, the online secondary ticketing site. CMA announced last year that it has secondary ticketing sites in is sights. That was last year, and this week the CMA has stated that a number of secondary ticketing sites, namely StubHub, GetMeIn! and Seatwave had updated their policies to ensure that seat numbers and seller’s identity will be provided and will even include ‘health warnings’ about the possibility of event promoters cancelling tickets sold without permission and in breach of terms on the secondary market. Not so Viagogo.   The executive director for enforcement of the CMA, Michael Grenfell, said “We welcome the changes already made and new commitments we’ve been given by StubHub, Seatwave and GetMeIn! to improve the information on offer, so that people can better judge whether they’re getting a good deal”… “But all secondary ticketing websites must play by the rules and treat their customers fairly if anything goes wrong. We take failure to comply with consumer protection law very seriously”.   Switzerland based Viagogo has not been compliant with the CMA’s requests. In fact, Grenfall explained “So far…

Viola player’s claim for damaged hearing succeeds in the High Court
Health & Safety , Live Events / April 2018
UK

HEALTH & SAFETY Live events sector   Chris Goldscheider, a former Royal Opera House viola player has won a landmark High Court judgment after he suffered a life-changing hearing injury at a rehearsal of Wagner’s Die Walkure in 2012. The claim came from a rehearsal on the 1st September 2012, Mr Goldscheider was seated directly in front of the 18 strong brass section of the orchestra for a rehearsal in the orchestra pit at the Royal Opera House. Evidence presented showed that during that rehearsal, the noise levels exceeded 137 decibels, roughly equivalent to that of a jet engine 100 feet away. Despite wearing ear defenders Mr Goldscheider’s hearing was irreversibly damaged and he claimed damages for acoustic shock, a condition with symptoms including tinnitus, hyperacusis and dizziness. He told the BBC: “With this condition if you are exposed to normal sounds, unfortunately they become incredibly painful” adding “I suppose the nearest analogy is if you imagine for a normal person to walk on normal ground and then you imagine walking barefoot on glass.” Mr Goldscheider studied in Prague and the UK and played with the Royal Liverpool Philharmonic and BBC Symphony orchestras. In 2002 he joined the viola section of the…

ASA clamps down on the secondary ticketing platforms
Competition , Consumers / April 2018
UK

CONSUMER / COMPETITION Live events sector   The UK’s four main secondary ticketing agencies have been banned from using certain “misleading” price strategies. The Advertising Standards Authority (ASA) said they had not been clear enough about extra fees added at the end of the booking. The four largest sites are Get Me In, Viagogo, StubHub and Seatwave. The action, comes after widespread concern from consumers, some politcians and industry groups such as the Fanfair Alliance, and seeks to ensure that advertisers are upfront about booking and delivery fees at the end of the process, which can drastically affected pricing. The ASA have also demanded that Viagogo stops using the words “official site” and “100% Guarantee” as it could not guarantee entry. . Concert promoters may use contract terms in the sale of tickets to cancel touted tickets meaning tickets bought on Viagogo could not guarantee entry. The ASA’s chief executive, Guy Parker, said: “Many of us will recognise the frustration of being happy with the initial price of tickets on a secondary website only to be stung by hefty fees when we come to book” and “The message from our rulings is simple and it’s clear: The price you see at the start should be the…

PPL and PRS for Music combine for joint licence
Copyright / April 2018
UK

COPYRIGHT Collection societies   PRS For Music and PPL have officially launched a new joint venture company which will provide one licence to cover all public performance rights. The new company will administer the joint licence – called TheMusicLicence which will allow users to play recorded music publicly in venues including bars, offices, gyms, fishmongers and music venues. The licence will cover users for the performing right in both recordings and songs. Suzanne Smith is the new head of the JV, joining from credit rating company Experian: “We are very excited to now offer customers of both PPL and PRS For Music a more streamlined approach for licensing their businesses to play and perform music” Smith said, adding “With the launch of TheMusicLicence we are providing one licence and one contact, enabling companies and organisations to enhance their customer and employee experience by playing music in their premises”. PRS For Music chief executive Robert Ashcroft said: “We have invested years of effort and millions of pounds to simplify music licensing for UK businesses and on behalf of PRS For Music, I am delighted to launch what is the largest joint venture of its kind in the world. This is the beginning of a new era…

West wins payout in insurance battle
Contract , Live Events / April 2018
UK
USA

CONTRACT Live events sector   Rapper Kanye West has settled his battle against Lloyd’s of London, which began when insurers refused to pay out West’s claim stemming from the cancellation of several dates on his 2016 Saint Pablo tour.  The Stour ran from August to November. West performed 41 shows in 87 days before the stoppage. In all, 22 dates were cancelled. West has not ventured back on the road since those cancelled dates. According to TMZ, the insurer has agreed to pay most of what West was claiming. Initially, Lloyd’s had refused to make any payment on the grounds  that the mental health issues which West suffered had stemmed from his drug use, which would have voided the policy. West’s touring company Very Good Touring sued Lloyd’s for $9.8 million (plus interest) and Lloyd’s had originally counter-sued. West was admitted to a Los Angeles hospital in November of 2016 following a series of “bizarre incidents” including feuding with Beyonce and Jay-Z, telling a San Jose, California crowd that he would have voted for then President-elect Trump if he had voted, and stopping a show after two songs and 30 minutes in Sacramento. A source told NBC news at the time that police responded…

New UK rules introduced to protect consumers against ticket touting
Competition , Consumers / March 2018
UK

CONSUMER / COMPETITION Live events sector   The UK’s Consumer Minister Andrew Griffiths has announced the implementation of a number of new rules to regulate the online secondary ticketing marketplace, although readers of this blog will note that some of these are already law, coming into force after amendments were made to the 2015 Consumer Rights Act by MPs Sharon Hodgson and Mike Weatherley. That Act also instigated the Waterson Report on the ticketing marketplace.  In a statement the Department For Business, Energy & Industrial Strategy said: “Fans of live events are set to benefit from new rules which will demand more information from sellers on secondary ticket websites. Under the new rules, which will come into force in April 2018, ticket resellers will be required to provide purchasers with additional detailed information about tickets including the location of seats, disclosure of any restrictions and the original price of the ticket itself”. However, Griffiths’s announcement does provide some clarity on exactly what ticket restrictions must be declared when a tout is touting. Also, there is a new obligation to provide the unique ticket number (UTN) of any ticket being resold where it is numbered (meaning a show promoter could cancel that ticket if…

New UK anti-bot ticketing legislation
Competition , Live Events / February 2018
UK

COMPETITION / CONSUMER Live events sector   The UK Government has unveiled new legislation aimed at preventing ticket touts from using so called ‘bots’ to bulk buy tickets. The new measure will be a new criminal offence contained in the Digital Economy Act, and touts who use automated software to harvest tickets to sell on at inflated prices, in effect circumventing limits on maximum ticket purchases set by event organisers and vars on the subsequent re-sale of tickets, will face unlimited fines. Matt Hancock, the UK’s minister for the creative industries, said: “We’re determined to make sure 2018 is the year we help real fans get the chance to see their favourite music and sports stars at a fair price. We’ll be acting to stamp out the growing problem of touts misusing technology to scoop up vast numbers of tickets only to sell them on at rip-off prices” adding “Our work, together with improvements by industry, will help make the market more transparent and mean a great year for Britain’s thriving live events scene.” The UK Government has now notified the European Commission of its plans to take forward the proposals, a move that comes as part of a crackdown to tackle misuse of…

Is there a lawsuit creeping up on us?
Copyright , Music Publishing / February 2018
UK

COPYRIGHT Recorded music, music publishing   For perhaps the first time this year it appears there may, or may not, be a Blurred Lines effect case on the horizons.     Lana Del Rey recently tweeted: “it’s true about the lawsuit. Although I know my song wasn’t inspired by ‘Creep’, Radiohead feel it was and want 100% of the publishing. I offered up to 40 over the last few months but they will only accept 100. Their lawyers have been relentless, so we will deal with it in court”.” Whilst many took this to mean a lawsuit had been filed by Radiohead’s lawyers, that isn’t quite the full picture.   First a bit of background and in short the dispute revolves around Radiohead claiming that Del Rey lifted aspects of Radiohead’s ‘Creep’ and placed it in her song ‘Get Free’.  If you listen to the two you may feel the same. You may not!   It was alleged by Del Rey that she was being sued and that Radiohead’s lawyers were demanding 100% of the publishing rights to Del Rey’s song. However, in a twist, Warner/ Chappell, Radiohead’s music publisher have stated that there is no lawsuit and the company has not asked for…

UK adopts ‘against of change’ to protect music venues
Live Events / February 2018
UK

PLANNING Live events sector   On the back of a private members bill which almost certainly failed to have reached the statute books, the UK government has agreed is to write the “agent-of-change” principle into planning law, in an announcement welcomed as a “seismic victory” for music venues by UK Music chief executuve Michael Dugher. Its a major triumph for the live sector and Secretary of State for Communities and Local Government Sajid Javid MP confirmed that the National Planning Policy Framework, with which local authorities are legally bound to comply, will be amended to include “detailed reference” to agent of change, making housing developers building new homes near exisiting UK venues responsible for addressing noise issues. Javid said: “Music venues play a vital role in our communities, bringing people together and contributing to the local economy and supporting the country’s grassroots music culture. I have always thought it unfair that the burden is on long-standing music venues to solve noise issues when property developers choose to build nearby. That’s why I consulted on this in February last year as part of the housing white paper” adding “I am pleased to finally have an opportunity to right this wrong and also…

Sir Paul backs the ‘agent of change’ law
Licensing , Live Events / February 2018
UK

PLANNING / LICENSING Live events sector   Artists and music industry leaders joined politicians in Westminster to support the ‘agent of change’ principle as John Spellar MP presented his bill to Parliament in a legislative move which if successful would change UK planning law so that property developers putting new residential buildings close to existing music venues would be responsible for identifying and resolving any future sound issues. This agent of change proposals, which attracted a message of support from Sir Paul McCartney, aims to ensure that music venues are protected from new arrivals who move into an area. The former Beatle was joined by Brian Eno, Pink Floyd’s Nick Mason, The Kinks’ Ray Davies in backing a plan to stop the closure of grassroots venues after more than a third were said to have closed in the past decade, according to research by UK Music. In his speech to Parliament Spellar said: “I accept that there is a variety of reasons for the decline in venues, but many relate to changes in the neighbourhood, increasingly when redundant commercial or industrial premises are converted to residential, or are knocked down and rebuilt, or as empty sites are developed” adding “Of course, much of that…

YouTube adopts ISNI to help allocate payments
Copyright , Internet , Music Publishing / February 2018
EU
UK
USA

COPYRIGHT Internet, recorded music, music publishing   YouTube is to begin issuing International Standard Name Identifier  (ISNI) numbers to creators. The platform has become a registration agency which means it will now start requesting and issuing ISNI codes from and to any creators who publish content, including musicians and songwriters in a move which should help with attribution and royalty payments. ISNI numbers can cover “researchers, inventors, writers, artists, visual creators, performers, producers, publishers, aggregators, and more”. YouTube will use the ISNI code to identify musicians and songwriters on its platform, allocating numbers to those who don’t already have one. It also plans to share those codes with any one creator’s business partners, such as record labels and music publishers, to encourage wider adoption of the identifier system. YouTube’s Technical Program Manager FX Nuttall said “By adopting ISNI, artists, songwriters and other creators will be unambiguously identified, enabling better visibility and tracking on YouTube. Bringing the ISNI open standard to music opens the door to more accurate credit for creators, discovery for fans, and transparency for the industry”. The ISNI International Agency’s Executive Director Tim Devenport said: “We’re delighted to partner with YouTube on such an ambitious effort. Many organisations active in the…

Two cases on either side of the pond puts equality in the spotlight
Live Events / February 2018
UK
USA

EQUALITY Live events sector    Female comedian Iliza Shlesinger is being sued in the US by a male patron who was turned away from her “Girls’ Night In with Iliza – No Boys Allowed” comedy show in Los Angeles. George St. George says he and a friend bought tickets to the show on November 13th through the Largo website. They arrived at the will-call window early, and were given their tickets but told they would need to sit in the back. After returning after a drink they were then told that Shlesinger and the theatre had decided not to allow entry because it was, as advertised, a women-only show, and that they would be refunded for their tickets. The event page on the Largo website says “Iliza is bringing her girls invited only show back to Los Angeles “Girls’ Night In is a hybrid stand up show and interactive discussion between Iliza and the women in the audience aimed at giving women a place to vent in a supportive, fun and inclusive environment. She invites women of all walks of life to come, laugh with her and at her and be ready to share and feel safe for an awesome night of…

Birmingham’s Rainbow to fight licence revocation
Licensing , Live Events / January 2018
UK

LICENSING Live events sector   In the United Kingdom, Birmingham City Council has revoked the licence of  The Rainbow Venues nightclub complex, following the drug-related death of a teenager last month. The decision was made after nineteen year old Michael Trueman died at a Halloween event after taking MDMA in the venue’s toilets. He died in hospital the next day. Resident Advisor reports that PC Abdul Rohomon from the West Midlands told a licensing hearing that the Police had “no option but to call for Rainbow’s licence to be revoked” as this was the second drug-related death in the eleven room complex in two years, the first being eighteen year old Dylan Booth in 2015. He added that there was also “evidence that a fifteen year-old boy has been admitted to the venue”,  based on video footage collected from Snapchat. Rohoman added: “There are around 3000 licensed premises in Birmingham and this is the only venue which has suffered drug related deaths. The most stringent measures are in place yet drugs are still being consumed inside the venue”. The Guardian reports that The Rainbow Venues already took robust action to restrict drug use. In a case that will remind many of…

Apple Music in hot water over unpaid mechanical royalty payments
Copyright , Music Publishing / January 2018
UK
USA

COPYRIGHT Music publishing   Mechanical royalties are the royalties paid to a songwriter when a copy of the songwriter’s song is reproduced. The term mechanical royalties dates back to the days when music was recorded on piano rolls. Nowadays, it relates to the sale of any sound recording that is within copyright. Therefore, every time a sound recording is manufactured into a CD, downloaded, or streamed this “mechanical” process will generate a royalty. The royalty will then usually be passed through the collection societies and to the songwriter, well not in Apple Music’s case.  Apple Music has found itself in “treble” ;) over allegations of not paying the correct mechanical royalties due to US songwriters. However, mechanical royalties and streaming platforms are having bit of a hard time as of late. Spotify, Tidal, Slacker and Google Play have all been on the receiving end of mechanical royalty payment lawsuits.  Generally speaking the streaming platforms are claiming that they want to pay songwriters their due mechanical royalties. But, because of inefficient US framework for the collection of mechanical royalties in the US it is difficult for the streaming platforms to pay every songwriter. In the streaming platforms’ defence, unlike the UK,…

Multiple moves against the ticket touts
Competition , Consumers , Live Events / January 2018
Austria
Japan
UK
USA

COMPETITION / CONSUMER Live events sector   In August, the Vienna Commercial Court found that the fees on tickets sold via CTS’s oeticket website, which charges €2.50 for ‘print @ home’ and mobile tickets and €1.90 for those picked up from branches of Libro or oeticket’s own box offices fell foul of Austrian law. Now the Higher Regional Court of Vienna (Oberlandesgericht Wien, OLG) has also ruled against Eventim. VKI said that the OLG took particular exception to the fact oeticket does not offer a fee-free delivery option, leaving the consumer with no option but to pay them. And British consumer protection body National Trading Standards has made four arrests as part of its investigation into the business activities of large-scale secondary ticket sellers in the UK. In a separate investigation, the Competition and Markets Authority raided the London offices of StubHub and Viagogo. The new arrests are linked to alleged breaches of the Consumer Protection from Unfair Trading Regulations 2008 which introduce a general prohibition against unfair commercial practices, specific prohibitions against misleading and aggressive practices and a blacklist of 31 practices that will be deemed unfair in all circumstances.    A National Trading Standards statement said “Officers from National Trading Standards conducted raids at a number of…

Bjork: the new kid on the blockchain
Copyright , Music Publishing / December 2017
Iceland
UK

COPYRIGHT Recorded Music   The Icelandic singer, songwriter and DJ, Bjork, is very well known for being a “restlessly experimental creative force” and is releasing her new album, Utopia, on the blockchain. She has announced that the latest album will only be available for purchase by way of cryptocurrencies. Blockchain, at its core, is a decentralised distributed ledger that registers and validates transactions without the need for a central authority. Further, the information that is stored on the blockchain is virtually tamperproof because of cryptographic hashes. This all means that two parties are able to exchange currency, data, or almost anything else in a secure way. Bjork has teamed up with British start-up Blockpool to put blockchain on the centre stage for the new release. Fans will need Bitcoin, Litecoin, DASH, or AudioCoin if they wish to purchase the album. In fact, it will not be possible to purchase the album with usual currency. Further, whilst fans will need cryptocurrencies to purchase the album, they will also receive cryptocurrency for doing so. Fans of Bjork will be given 100 Audicoins, a cryptocurrency designed for the music industry and currently worth around $0.19 each, when they purchase the album. Fans will…

Met axes Form 696
Live Events / December 2017
UK

EQUALITY Live events sector   IQ reported that London’s Metropolitan police is to abolish form 696, the controversial risk-assessment document critics claim discriminates against grime and other predominantly black music, in a move welcomed by mayor Sadiq Khan. Following a review process, which included consultations with local authorities, venues, the Musicians’ Union, London Promoter Forum and the Institute of Licensing, the Met announced it is to abolish the form – which it acknowledged was perceived to “disproportionately affect” certain genres of music – in favour of a “new voluntary partnership approach” with venues and promoters in the city.    A survey had revealed that almost half the British general public think that the controversial risk-assessment document Form 696 is discriminatory against those forced to complete it. The results of the survey are part of Ticketmaster’s State of Play: Grime report and shows that 48% of those polled – a “nationally representative” sample of the British population – think the form is discriminatory because it only applies to certain events. Culture minister Matt Hancock and the Mayor of London, Sadiq Khan, are among those to have called for a review of form 696, which is used by London’s Metropolitan police to determine the potential level of…

Agent of Change to (hopefully) change and protect UK Live Music and Venues
Live Events / December 2017
UK

PLANNING Live events sector   UK Music has launched a new campaign with the aim to persuade Parliament to introduce the “agent of change” principle into UK law.  It’s been bubbling under for some time now (see http://www.musiclawupdates.com/?p=6681 and we last updated readers on this in March 2017.  But what is the “agent of change” principle? Three years ago, Frank Turner warned the Culture Secretary Sajid Javid that  the country is facing “a meltdown in the British live music circuit” as venues closed – often forced to shut by new developments as new residents and businesses who move in then objected to being next door to a venue. In short it means that the person/ business responsible for the change is also responsible for the management of the impact of the change.  For example, new houses are being built near a live music venue: Under the agent of change principle, because the business behind the new houses is creating a change, the business would be responsible for paying for the soundproofing.  On the flipside, if a new music venue wanted to set up in a residential area, the venue would be responsible for the newly required soundproofing.  UK law at the moment says…

CMA to take action over secondary ticketing abuses
Competition , Consumers , Live Events / December 2017
UK

COMPETITION / CONSUMER Live events sector   Hot on the back of news that Google is updating its rules on how ticket-resellers can advertise on its search engine, meaning secondary ticketing platforms globally will have to be certified with Google before they can advertise using its AdWords platform (in turn promoting greater transparency), comes the announcement that the UK’s Competition And Markets Authority (CMA) will take enforcement action against secondary ticketing websites suspected of breaking consumer protection law following a long-running investigation – through the courts, if necessary. The CMA said it has gathered evidence, which it considers reveals breaches of the law, and identified “widespread concerns” about the information consumers are given. The CMA launched an “enforcement investigation” into secondary ticketing in December 2016. The CMA then said that it intended to “consider whether, in its view, both the businesses selling tickets and the secondary ticketing platforms advertising them are failing to provide the full range of information in breach of the law and, if so, take enforcement action”, responding to claims that the major re-sale platforms were ignoring transparency obligations laid out in the Consumer Rights Act 2015. These include stating the face value of the tickets being sold, information on the…

This is Spinal Tap – it’s gone past eleven
Contract / November 2017
UK
USA

CONTRACT Film & TV, recorded music   We previously reported about the ongoing ‘This is Spinal Tap’ litigation. In fact, I am sure that we are now running out of puns, I guess each time “it’s one louder, isn’t it?” But now the four creators, have amended their claim. The amendments have resulted in more specific claims against Vivendi and now Universal Music is also featured as a co-defendant.  The legal representatives for Harry Shearer, Christopher Guest, Michael McKean and Rob Reiner have stated that “The amended complaint details the fraud by concealment and misrepresentation conducted by Vivendi and its agent Ron Halpern and others. The co-creators contend there was longstanding and deliberate concealment by Vivendi of material facts regarding the actual gross receipts of the film, soundtrack, music and merchandise sales, plus expenses and the profits owed to them” and “Further compounding this fraud, improper expense deductions were made in Vivendi’s accounting to the creators, allegedly representing print, advertising and publicity expenses (undocumented) totalling over $3.3 million and a further $1 million in freight and other direct costs, more than half of which extraordinarily appears to fall some 20 years after the film’s release. Vivendi has also recently charged over $460k in ‘interest’ on…

Met’s Form 696 back in the spotlight after new survey results
Discrimination , Live Events / November 2017
UK

EQUALITY Live events sector   A new survey has revealed that almost half the British general public think that the controversial risk-assessment document Form 696 is discriminatory against those forced to complete it. the results of the survey are part of Ticketmaster’s State of Play: Grime report and shows that 48% of those polled – a “nationally representative” sample of the British population – think the form is discriminatory because it only applies to certain events. Culture minister Matt Hancock and the Mayor of London, Sadiq Khan, are among those to have called for a review of form 696, which is used by London’s Metropolitan police to determine the potential level of risk involved in events where a DJ or MC is using a backing track. The study was produced by Ticketmaster’s LiveAnalytics division in partnership with Disrupt and the University of Westminster’s black music research unit. Form 696  currently asks for the names, stage names, addresses and phone numbers of all promoters and artists at events where pre-recorded backing tracks are used. An earlier version of the document also asked about the specific genre of music being performed and likely ethnic make-up of the audience. Those questions were dropped in 2009 after allegations they were racial…

YouTube-MP3 agrees to shutter
Copyright , Internet , Music Publishing / October 2017
Germany
UK
USA

COPYRIGHT Internet, recorded music   YouTube-mp3 has agreed to shut down and hand its domain(s) over to the Recording Industry Association of America (RIAA). With millions of visitors each day, the ‘steam ripping’ YouTube-MP3.org was one of the most visited websites on the Internet.  Last year, the Germany-based YouTube to MP3 converter website was sued by the RIAA for copyright infringing their rights.  It had also been sued by the record industry in its home country in 2013. Now in an agreed settlement, YouTube-MP3 will shut down indefinitely. The BPI (British Recorded Music Industry) and the IFPI (International Federation of the Phonographic Industry) were also parties to the action, which accused the site of not only copyright infringement, but also circumventing YouTube’s copy protection mechanism, and violating the USA’s Digital Millennium Copyright Act. A report earlier this year by the UK’s Intellectual Property Office and PRS For Music said that stream ripping was now the “most prevalent and fastest growing form of music piracy”. According to an IFPI  report published last year, the site has been reportedly attracting more than 60 million monthly visitors. In the same report, it was mentioned that 50 percent of the 16 to 24-year-old survey respondents used stream ripping services…

Public Enemies
Artists , Contract , Music Publishing / October 2017
UK
USA

CONTRACT Artists, recorded music   Flavor Flav has launched a legal action against his former Public Enemy collaborator Chuck D and various other parties associated of the seminal hip hop group over allegedly unpaid royalties.  That said it seems Flavor Flav and Chuck D will still perform together in upcoming live shows. According to TMZ, the lawsuit covers unpaid royalties and revenue shares from recording income, publishing, live performances and merchandising income generated by Public Enemy, including monies from the recent album ‘Nothing Is Quick In The Desert’ and money relating to a deal that resulted in Public Enemy action figures being sold. In the lawsuit, Flavor Flav (real name William J. Drayton) claims that he and Chuck D (real name Carlton Ridenhour) had a long-established agreement that profits from their music, merchandise and concerts would be split between them. Despite that alleged arrangement, Flavor Flav claims that Public Enemy’s business management firm Eastlink has not been sending the earnings he is owed, which have “diminished to almost nothing, and Drayton has been refused accountings, even on the items bearing his likeness, Responding to the litigation, Chuck D told TMZ: “Flav has his rights, but took a wrong road on…

“England’s loudest band will be heard”….in a courtroom in the US
Artists , Contract / October 2017
UK

CONTRACT Film & TV, Artistes   The ‘This is Spinal Tap’ litigation has been ongoing for some time and now and it looks like it will go ahead. Last week it was ruled that the case will proceed on the provision that some new paperwork is filed.  Harry Shearer, Christopher Guest, Michael McKean and Rob Reiner allege that Vivendi, owner of StudioCanal, who in turn is the rights holder of the ‘Spinal Tap’ movie, of deliberate under-payment of music and other royalties.  The action started when Harry Shearer began the lawsuit against Vivendi, and not long after Christopher Guest, Michael McKean and Rob Reiner followed suit. They turned it up to eleven, and claimed that Vivendi “wilfully manipulated certain accounting data, while ignoring contractually-obligated accounting and reporting processes, to deny [the] co-creators their rightful stake in the production’s profits”. Vivendi called the litigation ‘absurd’ and stated that they planned to have the case dismissed. In the ruling last week the Judge stated that the creators of ‘Spinal Tap’ had not done enough to substantiate the claims of fraud, Judge Dolly Gee explained that: although the creators had “vaguely alleged the elements of a fraud claim, they have failed to plead…

The UK’s competition regulator approves Live Nations takeover of the Isle of Wight Festival
Competition , Live Events / October 2017
UK

COMPETITION Live events sector   The UK’s Competition & Markets Authority has approved Live Nation’s acquisition of the Isle of Wight Festival, concluding that the live giant’s latest expansion of its festival portfolio does not raise any competition issues. The deal was concluded through the LNE-Gaiety joint venture between Denis Desmond’s Gaiety and Live Nation. Desmond is also non-executive Chairman of LNE.    Prior to the decision, the UK’s festival trade association, the Association of Independent Festivals (AIF) had written to the Competition and Markets Authority (CMA) urging the CMA to widen its investigation into the acquisition of Isle of Wight Festival to include an inquiry into global promoter’s “position in the [UK] market overall”. AIF published a report that showed that Live Nation either owns or holds a majority stake in nearly a quarter (23%) of all UK events with a capacity of over 5,000. In total, Live Nation controls 28 UK festivals, including eight of Britain’s largest outdoor events (Download, V Festival, Reading/Leeds, Parklife, Creamfields, Lovebox and Wilderness) but  whilst this excludes Glastonbury, it is almost three times more than its nearest competitor, Global, which AIF says has a  8% marketshare. Rival AEG promotes the 65,000 capacity British…

Radiohead stage death trial collapses
Health & Safety , Live Events / October 2017
Canada
UK

HEALTH & SAFETY Live events sector   “No doubt, this decision will be incomprehensible to Mr Johnson’s family, who can justifiably complain that justice has not been done”. Judge Ann Nelson   The criminal case and trial against the organisers of Radiohead’s 2012 concert in Toronto where British drum technician Scott Johnson was killed and three others injured when a scaffolding structure collapsed at Downsview Park in June 16th 2012 has ended because of delays in the trial itself, primarily as the original judge hearing the case received a promotion. In July 2017 Justice Shaun Nakatsuru, said that his appointment to the Ontario Superior Court meant he no longer had jurisdiction over the case. Nakatsuru said he came to the decision with “great regret” saying “My appointment was unexpected and without notice. I know that the defendants have waited a long time for the final resolution of this case. So has the public” and “There are many compelling reasons why it would be in the best interests of justice for me to finish this. But I cannot.” The show was promoted by Live Nation, and LNE and its Ontario subsidiary were subsequently charged under the Canadian province’s Occupational Health And Safety Act….

Yoko Ono forces a John Lemon re-brand
Artists , Trade Mark / October 2017
Netherlands
UK

TRADE MARK Artists   John Lennon’s widow, Yoko Ono, has pushed  a Polish beverage company into changing the name of its new lemondade drink which had been called “John Lemon”. The singer-artist’s legal team alleged that the product infringed on Ono’s ‘John Lennon’ trademark and his personality rights. With a Dutch action pending, Mr Lemonade Alternative Drinks agreed to change the name to “On Lemon” after Ono wrote to the company and its distributors across Europe, warning that continued infringement could result in substantial damages which were reported as 5000 euros per day that the drink was on sale, and 500 euros for every bottle sold.    Ono’s attorney, Joris Van Manen, told the East London Advertiser that the lemonade sellers “were abusing and misusing the legacy of John Lennon to sell their soda”. In addition the lawyer cited various promotional efforts by the drinks company that also alluded to the one time Beatle.   The legal action referenced a Facebook post by John Lemon Ireland showing a large wall mural of Lennon holding lemons with the brand’s logo underneath. Other advertising depicted a pair of round glasses, closely linked with the famous Beatle, next to the words “Let It Be.”  …

Foos fight the touts
Consumers , Contract , Live Events / October 2017
UK
USA

CONTRACT / CONSUMER Live events sector   Foo Fighters have risked a PR disaster by turning away fans who had brought tickets for their show at London’s September 19th O2 from secondary re-sellers. Whilst the band  apologised to fans who were turned away from the O2 Arena  buying tickets from the secondary sites they and promoters SJM Concerts said they had made it very clear at the point of sale that each buyer’s name was printed on each ticket for the show and that buyers would be required to show ID to prove it was their name on the ticket before being granted entry.    It was reported that 200 people were turned away at the doors. In a statement, the band said: “The Foo Fighters show that took place at The O2 last night had a strict ‘names on ticket’ policy. The stipulation that ID would be required for admittance to the show was clearly stated at the time of announcement and was explicitly noticed at the point of purchase”. The band added that a number of other measures to ensure that tickets were not resold by touts were also put in place adding “despite these requirements being in place, some purchasers listed…

Viagogo faces Australian investigation
Competition , Live Events / September 2017
Australia
UK

COMPETITION / CONSUMER Live events sector    The Australian Competition & Consumer Commission has begun legal proceedings against the secondary ticketing website Viagogo, accusing the controversial ticket resale platform of making false or misleading representations, and of engaging in misleading or deceptive conduct, joining a number of actions that Viagogo is facing in different countries around the globe.   In the UK, Viagogo has faced growing complaints, not least because it re-sold tickets for the Teenage Cancer Trust charity concert, because not one representative of the now Swiss based company turned up for the investigation into ticketing by the Parliamentary Culture Select Committee despite Viagogo having a UK office, and has faced a furious backlash from consumers, most noticeably from the Victims Of Viagogo campaign on Facebook.   The ACCC is claiming in the filing with the Australian Federal Court that the secondary ticketing company breached Australian consumer rights law between 1st May and 26th June this year. Among the specific complaints made by the ACCC are that:  Viagogo failed to disclose upfront significant booking fees, estimating that these average 27.6% for most events; that it misled consumers about ticket availability by making statements like “less than 1% of tickets…

Ticket touts and secondary re-sellers face increased scrutiny across Europe
Competition , Live Events / September 2017
EU
UK

COMPETITION / CONSUMER Live events sector   Spain and Italy are taking the lead on clamping down on ticket touting and some of the less savoury activities of some players in the secondary ticketing market, and now some of the biggest ticketing companies and concert promoters in Spain and Italy are facing prosecution.   In Milan, state prosecutor Adriano Scudieri has accused promoters Di and Gi, Live Nation and Vivo of misleading consumers the actual reality of a ‘sell out’ for some shows – panicking fans into hasty purchases at over inflated tickets prices for shows they were told were about to sell-out. Scudueri also claims that a number of companies signed “hidden agreements” with secondary ticketing site Viagogo to supply tickets to Viagogo from the primary market for sale at “unreasonably” high prices, netting €1.4 million in the process.   The State Prosecutor has announced that there will be two charges brought against the secondary ticketing companies.  The first will be for defrauding the State of 1.4 Million Euros, as a result of artificial price-rigging. The companies have further been accused of conspiring against the Italian music collection society, SIAE, and will be charged with defrauding the State of 150,000…

Potential sale of Isle of Wight Festival opens up competition issues
Competition , Live Events / September 2017
UK

COMPETITION Live events sector   The UK’s festivals trade association, the Association of Independent Festivals (AIF) has written to the Competition and Markets Authority (CMA) urging the CMA to widen its investigation into Live Nation’s acquisition of Isle of Wight Festival to include an inquiry into US promoter’s “position in the [UK] market overall”. The 60 festival strong group made the recommendation after publishing research that showed that Live Nation either owns or holds a majority stake in nearly a quarter (23%) of all UK events with a capacity of over 5,000. In total, Live Nation controls 28 UK festivals, including eight of Britain’s largest outdoor events (Download, V Festival, Reading/Leeds, Parklife, Creamfields, Lovebox and Wilderness) and whilst this excludes Glastonbury, it is almost three times more than its nearest competitor, Global, which AIF says has a  8% marketshare. Rival AEG promotes the 65,000 capacity British Summer Time shows in London’s Hyde Park. Live Nation has divisions operating in tour and festival promotion, venue management, primary and secondary ticketing, and artist management, and continues to be acquisitive, not least in the UK where it has bought into a number of touring, festival and venue companies in recent years. AIF’s general manager, Paul Reed,…

Music not politically correct? Spotify will protect you
Censorship / September 2017
EU
UK
USA

CENSORSHIP / EQUALITY Recorded music, streaming   Bands like Rage Against the Machine, Dead Kennedys and Public Enemy exemplify the fact that music is political and vice versa.  But how political is too political? In 2014 The Sothern Poverty Law Centre published a list of ‘white power’ artists, in which 37 artists including ‘Skull Head’ and ‘Tattooed Mother Fuckers’ were featured. The list was originally intended to target the iTunes store, and at the time Apple did remove many of the artists from download sales. The list has recently resurfaced, in the aftermath of the race related protests in Charlottesville, Virginia. Spotify has now taken action to remove artists that are identified as white supremacist hate bands.  Spotify has over 140 million users, but the question should be asked: do these users need to be told what they can and cannot listen to? Well, a spokesperson for the service, which claims to be a champion of free speech, stated that “Illegal content or material that favors hatred or incites violence against race, religion, sexuality, or the like is not tolerated by us.”  Spotify’s competitor Deezer has also joined in, and has also taken moves to decide what users can and…

Barry based security firm under investigation
Health & Safety , Live Events / August 2017
UK

HEALTH & SAFETY Live events sector   A Welsh event security firm is under investigation by the Security Industry Authority (SIA) for allegedly supplying unlicensed stewards to several British music festivals. The Security Industry Authority (SIA) confirmed it was investigating LS Armour Security Ltd of Barry, South Wales, following a compliance check. The SIA It said it was “exceptional” for it to comment publicly and had taken “unprecedented action due to public safety.” The investigation is looking at wether the firm supplied cloned badges to unlicensed stewards at UK festivals. Reports say that Lee Szuchnik of LS Armour Security, had advertised for security staff for several festivals this summer, including Glastonbury Festival, Shindig Weekender in Bruton, Somerset, and Mutiny Festival in Portsmouth. The company has also been recruiting for stewards for Liverpool International Music Festival and Lewes Live Festival later this month.   In a statement, an SIA spokesman said: “This type of unlawful conduct remains rare due to responsible organisers and security providers conducting appropriate due diligence …. Nevertheless, the SIA understands that at this time of year, event organisers and primary contractors may not have sufficient SIA-licensed staff, which can lead to extensive sub-contracting” and “This provides opportunities to rogue providers…

Will legalities rain down on the Purple Rain stage show?
UK

COPYRIGHT Live events sector, music publishing   It has been announced that a ‘jukebox musical’ made up of Prince’s songs will tour the UK next year and the current plan is that it will open very shortly with a string of dates across the UK.     I say plan because Prince’s family or the Prince estate has not given permission for the musical. In fact, Troy Carter, entertainment advisor to the Prince estate has explained that “Neither Prince’s family nor the estate have given permission to use his name, likeness or music catalogue for this event”,   But do they need permission?  With the music, there are two licensing issues that must be taken into account.    Firstly, let’s take the boring option, if the Purple Rain musical is in essence just a band performing Prince’s catalogue of music, nothing more, nothing less, so in effect a tribute band playing Prince songs (albeit under the guise of a musical) it would be likely that permission of the Prince estate would not be needed. This is because it is possible to obtain, or play a venues where  a PRS ‘blanket licence’ will cover the public performance of the musical works.   Now, the more…

Stream-ripping tops music piracy chart
Copyright , Internet / August 2017
UK

COPYRIGHT Internet, digital   A study carried out by PRS for Music and the Intellectual Property Office (IPO), has found that stream-ripping is now the most prevalent and fastest growing form of music piracy in the UK, with nearly 70% of music-specific infringement dominated by the illegal online activity.   Research revealed that the use of stream-ripping websites, which allow users to illegally create permanent offline copies of audio or video streams from sites such as YouTube, increased by 141.3% between 2014 and 2016, overwhelmingly overshadowing all other illegal music services.   In 2016, PRS for Music and the IPO jointly commissioned two separate studies by INCOPRO and Kantar Media to better understand stream-ripping and its impact on the UK market and online consumer behaviour. Over 9,100 consumers participated.    Stream-ripping can be carried out via apps, websites, plug-ins or specially developed software on any online audio and video content to create a permanent audio-only copy of the music, without the rightsholders’ permission. Once saved, the track/file can be listened to offline on any digital device such as smartphones and tablets.   YouTube was found to be the most popular source of content for these sites, used by 75 of…

Ed Sheeran takes on the touts
Competition , Live Events / August 2017
UK

COMPETITION Live events sector   The promoters of Ed Sheeran’s UK 2018 stadium tour have cancelled up to 10,000 touted tickets to put back into the primary market.  Kilimanjaro, DHP Family and AEG Presents confirmed in a statement  that they were cancelling any touted tickets to the sold out stadium shows. The promoters told fans to only buy tickets from primary sellers or their approved secondary site, resale platform Twickets which re-sells at face value.  Viagogo was targeted by Sheerhan’s team after eBay’s StubHub and Live Nation’s Seatwave and Get Me In! agreed to the musician’s request to block touted tickets.   The promoters statement reads:  “[We] and Ed Sheeran’s team worked closely together in advance of the on-sale date to put in place measures designed to protect fans from profiteering companies”. Noting that “most profiteering companies heeded the promoters’ warnings not to trade and resell tickets that would instantly be cancelled”, the statement adds: “This has resulted in 90% of tickets being delivered directly into fans’ hands at the face value” and “Despite these efforts, it has become clear that one company, Viagogo, have ignored the promoters’ requests, and there is an increasing number of customers who are realising they…

Injunction available after claimed licence fees paid – PPL v JJPB
Copyright , Live Events / July 2017
UK

COPYRIGHT Live events sector By Rosie Burbidge writing for the IPKat    Should an injunction be granted when the licence fees which were the reason for a claim being issued have all been paid? What about if further licence fee payments (incurred after the claim form was issued) have not been paid?   Phonographic Performance Limited (or PPL) “licenses recorded music played in public or broadcast and then distributes the licence fees to its performer and recording rightsholder members.” It is one of the most regular users of the IP Enterprise Court.   One of its recent targets, Mr Gaughan, runs a bar called the Watkins Folly.  The owner, Mr Gaughan reached a settlement with PPL shortly after service of the claim form. He paid the licence fee for past infringements but: (i) did not set up the agreed Direct Debit to cover payments over the following year and; (ii) continued  to play sound recordings to the public. After failed attempts to persuade Mr Gaughan to pay up, PPL applied to the court for judgment in default and to lift the automatic stay which applies six months after the period for filing a defence has expired.  The big question was not whether Mr Gaughan was…

Radiohead stage collapse trial to be re-set
Canada
UK

HEALTH & SAFETY Live events sector   A new trial has been set for the defendants charged after the stage collapse at an outdoor Radiohead concert in Toronto five years ago, which killed British drum technician Scott Johnson, then aged 33.   Johnson was killed and three others were injured after scaffolding collapsed. The show was promoted by Live Nation and the live music giant was subsequently charged under Ontario’s Occupational Health And Safety Act. Optex Staging & Services Inc was also charged over four alleged breaches of health and safety laws, while an engineer working on the show, Dominic Cugliari, faced a single charge. The case had progressed progressed for some forty days,  and closing arguments were expected but a mistrial was declared after the presiding judge, Justice Shaun Nakatsuru, said that his recent appointment to the Ontario Superior Court meant he no longer had jurisdiction over the case. Nakatsuru said he came to the decision with “great regret” saying “My appointment was unexpected and without notice. I know that the defendants have waited a long time for the final resolution of this case. So has the public” and “There are many compelling reasons why it would be in the best interests of…

PRS for Music launches new live concert tool for members performing overseas
Copyright , Music Publishing / June 2017
EU
UK
USA

COPYRIGHT Music publishing     PRS for Music has launched a new live concert tool for members performing overseas which will show local tariffs across global territories and  could potentially help touring acts who write their own material additional royalties with the PRS for Music saying the tool will “help members who perform their music internationally negotiate full and fair royalty settlements.”   Unique to PRS for Music, the live concert tool removes the difficulty of calculating a specific country’s local tariff, which often varies significantly from territory to territory and has historically been a complex area for bands and their tour managers.   The live concert tool features a tariff calculator which can provide advance estimates of royalty value per concert across the globe, as well as ensuring the correct licence tariff rates are applied for major concerts. PRS for Music say the are the first ever collective management organisation to have developed and implemented this technology and has made it accessible to its members upon request.   The tool can also be used for royalty reconciliation post-performance, enabling members to review the progress of a royalty payment, as well as access a summary of the royalties they will…

BBC in pain over Sir Cliff’s legal bills
Artists , Privacy / June 2017
UK

PRIVACY Broadcasting, Artistes     The BBC has hit out at Sir Cliff Richard’s legal spend after the broadcaster provided controversial live coverage of a raid on Richard’s Berkshire home by the South Yorkshire Police in an investigation into claims of sexual abuse that were made against the singer in 2014.  No charges were made in relation to the allegations of historical sexual assault, with the Crown Prosecution Service dropping the case because of insufficient evidence.  Richard claimed that the BBC’s coverage of the case, facilitated by South Yorkshire Police, breached his privacy rights and, in doing so, inflicted “profound and long-lasting” damage on the singer’s reputation. The case is ongoing, with the BBC denying any wrongdoing.  At a High Court hearing the legal costs were set out, with the singer having already spent £525,437 on the civil case, in addition to £369,414 spent on solicitors who dealt with the legalities around the police raid. The BBC’s lawyers argue that those costs are “disproportionate” for a case of this kind. Unless any settlement can be reached, the case will now proceed to a full court hearing. The BBC has said it will defend its coverage of the raid.   https://www.lawgazette.co.uk/news/bbcs-fury-at-900k-pre-action-legal-costs-of-sir-cliff-richard/5060954.article

Isle of Wight festival sale in the spotlight
Competition , Live Events / May 2017
UK

COMPETITION Live events sector   The UK’s Competition and Markets Authority is to investigate the recently announced acquisition of  the Isle of Wight Festival by Live Nation. The CMA said  it was: “considering, pursuant to section 22 of the [2002 Enterprise] Act”, whether the merger of Isle of Wight Festival Ltd and Live Nation/Denis Desmond’s LN-Gaiety Holdings Ltd “has resulted or may be expected to result in a substantial lessening of competition in any market or markets in the United Kingdom”. The live music major has expanded its UK festivals portfolio considerably in recent years, mainly via LN-Gaiety, its joint venture with Irish music industry veteran Denis Desmond, who now heads up Live Nation’s UK operation. LNE owns festivals including Creamfields, Dowlnload and Wireless in the UK and subsidiary Festival Republic runs the Reading, Leeds and Lattitude festivals and over 85 festivas worldwide.    LNE describes itself as “the largest live entertainment company, operates concert promotions, venue operations, sponsorship, ticketing solutions The CMA says the two companies are currently prohibited from taking any actions which may “lead to the integration of the Isle of Wight Festival business with the Live Nation business” or “transfer the ownership or control of the Live Nation…

Lords move to strengthen ticket re-sale transparency
Consumers , Live Events / May 2017
UK

CONSUMER Live events sector   In the UK, the House of Lords has passed an amendment that anti-touting campaigners say will strengthen the position of consumers who use secondary ticketing sites. Whilst the UK government now supports the recommendations made in the Waterson report, an independent review which recommended no new legislation against secondary ticketing but did suggest proper enforcement of the existing Consumer Rights Act (CRA) 2015, the new amendment to the Digital Economy Bill is opposed by the government Despite the opposition, the Lords voted 180–157 in favour of the amendment, which would require sites such Seatwave, Get Me In!, StubHub and Viagogo to provide the ticket reference or booking number, as well as any specific condition attached to the resale of the ticket. Under the current legislation, secondary sites are already obliged to list the original face value, seat/row numbers and any usage restrictions.   Conservative peer Lord Moynihan, a former sports minister and Olympic rowing coxswain, said: “We do not want to ban the [secondary] market, although noble Lords did so for the Olympic Games in London 2012. Similarly, this is not about a cap on resale prices. It is perfectly within the conclusions [of], and the…

Lords push on with establishing the ‘agent of change’ principle into UK law
Licensing , Live Events / May 2017
UK

LICENSING Live events sector   Cross-sector trade group UK Music has welcomed new recommendations made by a House Of Lords Select Committee a call to extend the the ‘agent of change’ principle to revisions of the Licensing Law. The Committee that has been reviewing the licensing rules that impact on concerts and venues and said that the 2012 Live Music Act, which aimed to simplify the licensing process for smaller gigs, was working well. They also said that the appointment of ‘night czars’ in cities to focus on the local night-time economy were a positive move.   Extending the agent of change principle was a key recommendation. The UK government already has proposals to boost ‘agent of change’ protections to safeguard music venues from new property developments under the National Planning Policy Framework.   The Lords’ Committee has also proposed that the ‘late night levy’  which can be imposed by local authorities on late night licensed premises  should be abolished on the basis that it is a burden on pubs and clubs, and was not  contributing to local policing costs as had been originally intended.   For UK Music Jo Dipple said: “UK Music asks government to take forward the Lords suggestion that a…

PRS for Music and GEMA announce record results
UK

COPYRIGHT Music publishing   The UK’s Performing Right Society (PRS) has announced it paid out more than half a billion pounds sterling in royalties to songwriters, composers and publishers ib 2016, in its strongest performance to date. The organisation, which represents the rights of over 125,500 music creators in the UK and two million worldwide, paid out £527.6m to its members last year, up 11.1% (£52.5m) on 2015.   It was also able to deliver more money to more creators than ever before, with 33% more members receiving a payment compared to 2015. The number of unique musical works and songs earning money also rose by 45% to 4.2 million. In turn, revenues collected by PRS increased by 10.1% (£57.2m) in 2016 to £621.5m.   Of the music licensing company’s four main revenue streams, international income generated from members’ music played abroad saw significant growth, with £233.7m received from equivalent societies overseas. This represents an increase of 5% (£11.2m) year-on-year. Revenue from music played via online platforms saw the largest uplift at 89.9% (£38.1m) to £80.5m, while public performance income grew 4.6% to £183.2m and broadcast revenues were stable at £124.1m(a decrease of 0.1% on 2015).   In 2016, over…

British DJ sentenced to prison after including the Muslim call to prayer in Tunisian show
Live Events / May 2017
UK

BLASPHEMY Live events sector   A court in Tunisia has sentenced a British DJ Dax J to one  year in jail after he played a dance remix of the Muslim call to prayer during a set at the Orbit Festival  last weekend. The UK DJ and producer was found guilty of public indecency and offending public morality after footage of him playing the track in a Nabeul club emerged on social media. The club, El Guitone, was shut down and its owner taken into custody. However, charges against the owner and the promoter were dismissed (although they may be re-instated on apeal). The owners had been arrested for “violation against good morals and public outrage against modesty.”  Nabeul governor Mnaouar Ouertan said that the government would “not allow attacks against religious feelings and the sacred.”  London-born and Berlin-based Dax J had fled Tunisia before the matter went to court. He has already apologised for including the remix of the Adhan in his set, insisting that “it was never my intention to upset or cause offence to anybody”. The promoters of Orbit apologised over the inclusion of the Adhan in Dax J’s set earlier this week, adding that the DJ “did not realise…

UK government to act on touting
Consumers , Live Events / April 2017
UK

CONSUMER Live events sector   In the wake of an outcry over touts re-selling tickets for Ed Sheerhan’s Teenage Cancer Trust charity show at the Royal Albert Hall and Adele’s O2 concerts, UK ticket touts who use computer ‘bots’ to mine for concert tickets before selling them for massive profits, and blocking fans from seeing their favourite artists except at huge mark ups, will face unlimited fines. National Trading Standards will also be handed a ringfenced pot of money to fund efforts to stop fans being ripped off or shut out of the most in-demand events. As well as criminalising bots, United Kingdom ministers at the DCMS will accept in full the recommendations of a review by Professor Michael Waterson, who published proposals to tackle rogue ticket traders last year. These include demanding that ticket firms to step up their own efforts to prevent the use of bots and to report any attacks on their systems by touts trying to harvest tickets. Culture minister Matt Hancock said: “This profiteering is simply not fair, so we are acting to put fans first and improve the chances of seeing our favourite musicians and sports stars at a reasonable price” adding “Ticket sellers…

ARTICLE LINK  – Trade Marks and Google Adwords
Trade Mark / April 2017
EU
UK
USA

TRADE MARK All areas     This week LA Weekly broke the news that Coachella’s  parent company, Goldenvoice,  is suing Urban Outfitters for trademark infringement, alleging the unauthorised use of the word “Coachella”. The lawsuit relates to Urban Outfitters subsidiary Free People, who have allegedly been selling various items that use the Coachella name: “Coachella Valley Tunic” and  “Bella Coachella” accessories being two examples. According to the LA Weekly report, Goldenvoice had sent a cease-and-desist letter along with several other demands that Urban Outfitters stop using the “Coachella” name, to no avail. Now Laura Harper, a partner at Shoosmiths LLP, has written a very good article on this in the context of UK and European law, with a particular nod towards the onlIne sphere, Google and ‘adwords’.  https://www.iq-mag.net/2017/03/trademarks-fair-game-use-google-adwords-laura-harper-shoosmiths/#.WNPgdTuLSM9

Are Sir Paul McCartney’s copyright reversion up in the air pending the possible Duran Duran appeal?
General / April 2017
UK
USA

COPYRIGHT/CONTRACT Music Publishing   We have previously reported that Sir Paul McCartney had filed a lawsuit against Sony/ ATV. In this lawsuit McCartney is attempting to reclaim the rights to the 267 songs he co-wrote with John Lennon throughout the 1960s when they were members of the Beatles. Sony/ ATV had previously labelled the lawsuit “unnecessary and premature” in a statement, now it appears they have furthered this by explaining that it is not a matter for the court. In a letter to the court they have stated that “As an initial matter, Sony/ ATV has made no statement challenging the validity of plaintiff’s termination notices”. Does this mean that it is disputed that there is even a dispute?  Sony/ ATV have been put on notice that McCartney will be attempting to reclaim the copyright, and as of yet they have not said they will attempt to block the reversion of the copyright. However, it looks as if Sony/ ATV are looking to the outcome of the Duran Duran case that is going through the appeal procedure in the UK before they make a move. At first instance in the Duran Duran case, Arnold J found that on the application of English law,…