The Digital Millennium Copyright Act at 22: What is it, why was it enacted, and where are we now — On Tuesday, the Senate Subcommittee on Intellectual Property launched the first of a year-long series of hearings focused on the Digital Millennium Copyright Act—specifically, the online service provider safe harbors in Section 512 and the anticircumvention provisions in Section 1201. It heard from two panels of witnesses: the first, individuals who were involved in the drafting of the DMCA, and the second, academics who could talk about how the DMCA operates today. Video of the hearing and links to each of the witnesses’ written statements available at the link.
Acting U.S. Copyright Register Maria Strong: All Eyes on Modernization — IP Watchdog interviews the Acting Register on her new role, along with current efforts at the U.S. Copyright Office.
Oracle Tells Justices Google Was ‘Too Desperate to Innovate’ — The Supreme Court will decide Google v. Oracle this term, weighing in on questions regarding the copyrightabillity of software and fair use. On Wednesday, Oracle filed its merits brief, and Law360 reviews what the company said. Amici briefs supporting Oracle are due next Wednesday, and oral arguments in the case have been scheduled for March 24.
‘Adventures of a Jazz Age Lawyer’ Review: The Man Who Fought Pirates — Wall Street Journal reviews a new book by Gary A. Rosen about Nathan Burkan, a pivotal figure who helped shape copyright law in the first half of the Twentieth Century. I haven’t read it yet, but it looks like something of interest for copyright history buffs.
Splice Payouts to Creators Top $25 Million as Company Prioritizes Female Producers — From Variety: “Splice, the popular platform for rights-cleared sounds and beats, has paid out more than $25 million to musicians in its artist-to-artist marketplace, the company has revealed. . . . ‘It’s about opening up the ecosystem,’ [CEO Steve] Martocci elaborates, pointing to his roots in programming and open source software. ‘And what’s cool about Splice Sounds is every time you’re using it, you’re putting money into the pockets of the musicians who made those sounds. And to get compensated like this actually can transform peoples’ lives.'”