Call 855-808-4530 or email [email protected] to receive your discount on a new subscription.
While the livestreaming of music performances is not an entirely new phenomenon, the COVID crisis has transformed the live performance landscape, compelling artists from around the world to reach their fanbase by producing “quarantine streams,” in which they livestream their sets on social media platforms. Unsurprisingly many questions have arisen.
This article is Part Two of a two-part article. Part One appeared in our January 2021 issue.
*May exclude premium content
By Stan Soocher
Current copyright litigation in the U.S. District Court for the District of Maryland involving Clancy’s widow Alexandra and his former wife Wanda King is complex, but involves fundamental issues of copyright ownership.
By Alan R. Friedman
In response to a copyright claim in the U.S. District Court for the Central District of California that the Netflix series Stranger Things infringed on Irish Rover Entertainment’s unpublished screenplays, Netflix and the other defendants filed a Rule 12(b)(6) motion to dismiss, arguing that the works were not substantially similar as a matter of law.
By David Schnider
The audit clause is a necessary means for the licensor to protect its interests and to guard against unscrupulous licensees. But it is a mistake to think that the clause is there solely to prevent malfeasance.
By Scott Graham
The CASE Act fulfills the longstanding goal of the U.S. Copyright Office to establish a small claims court. The measure tasked the office with establishing the Copyright Claims Board and adopting governing regulations.