By Sebastian Stock
In Akamai Technologies, Inc. v. Limelight Networks, the Federal Circuit broadened potential patent infringement claims by no longer requiring a defendant perform all the steps of a patented method before direct infringement occurs. As the dust settles from Akamai, should courts expect an influx of patent infringement suits.
Akamai Technologies, Inc. began in 2006 when Akamai Technologies, Inc. (“Akamai”) sued Limelight Networks, Inc. (“Limelight”), claiming infringement of claims on its patent related to its content delivery network (“CDN”). A CDN is a platform of proxy servers designed to directly deliver end-user internet content. CDN’s are widely used – they carry nearly half of the world’s internet traffic.
Continue reading “Expanding the Fringe of Patent Infringement”
By Gwen Wei
Does anybody remember how B&B Hardware v. Hargis Industries started anymore?
B&B Hardware is a labyrinthine case grown out of simple roots: in 1993, B&B Hardware (“B&B”) trademarked “Sealtight”. Hargis Industries (“Hargis”) applied for a trademark on “Sealtite” in 1996. When B&B opposed Hargis’s application, Hargis sought to have B&B’s trademark cancelled. B&B retorted with a suit for infringement. This eventually led to a brief wrangle before the Trademark Trial and Appeal Board (“TTAB”), where the board found there was a likelihood of confusion between the two marks. But retelling the full twenty years of its litigious history, as Justice Alito later remarked, could fill a long, unhappy book. Over the decades, B&B Hardware has devolved into a slapfest as the case was dismissed and refiled and remanded, surging all the way to the Supreme Court and back again. The case’s significance no longer lies in its eventual final verdict—whether B&B or Hargis gets to seal the deal, as it were—but in the precedent that it sets.
Continue reading “I ATEN’T DEAD: The Continuing Trademark Saga of B&B Hardware v. Hargis Industries”
By Gwen Wei
Earlier this year, three artists separately sued appropriation careerist Richard Prince for copyright infringement. The works in question? Photographs with valid and registered copyrights—each framed in an Instagram screenshot by Prince.
Sound familiar? The incidents seem to be an ugly throwback to 2015, when Prince took screenshots of multiple photographs from the Instagram account of pin-up brand Suicide Girls, printed them, and sold each print for $90,000. But none of this is new ground for Prince. Such incidents define his forty-year career: rephotographing the photos of others, reprinting J. D. Salinger’s The Catcher in the Rye with his own name substituted for the author’s, or writing out lines out of joke books for display at art galleries.
Continue reading “Screenshot Through The Heart, And Richard Prince’s To Blame”
By Jeff Bess
YouTube has come a long way in the decade since its founding as the Internet’s hub for one-off viral clips and cat videos. As of last month, YouTube reported that it reaches more viewers in the coveted 18-49 age group during primetime than the top ten TV shows combined. This is due in large part to the vibrant community of original content creators – some of whom individually drive enough traffic to make themselves millionaires – that host and share their videos on YouTube’s platform.
YouTube’s explosive growth as commercial and expressive medium has naturally brought with it a greater likelihood of legal disputes, particularly with respect to copyrights. Take for instance popular YouTubers Ethan and Hila Klein, the couple behind the comedy channel H3H3 Productions. They have built a following of nearly two million subscribers by making videos commenting on and making fun of other YouTubers’ videos. Continue reading “Fair Use: YouTubers Claim Copyright Infringement Lawsuit Against Them is a Goof”
By Alex Bullock
When Kanye West announced the development of his seventh studio album in March of 2015 (what would eventually become The Life of Pablo, released earlier this year) Nick Stokes and Eric Swanson, two Portland-based artists and Kanye fans, were inspired to make something to commemorate the occasion. The result was What ‘Ye Is It?, a custom-animated calendar that features a looping animation for each day of the week, inspired by West’s collection of works. After its creation, various media outlets linked to Stokes’ and Swanson’s website (for a list of the coverage, see here).
Fast forward to June 8 of this year: Finish Line, the athletic shoe and apparel retailer, posted the animation to their Instagram account in honor of West’s 39th birthday. However, the post credited music and lifestyle magazine The FADER for the work. The FADER posted about Stokes’ and Swanson’s work on May 14, 2015, but it is not the author of the work. Even after being notified by the authors of their mistaken attribution and their unauthorized use of the work, Finish Line has not made any effort to resolve the issue.
Continue reading “Copyright Beams: Protecting Artists Work on Social Media”