necklace made of bitcoin keyrings

Cryptocurrency, Blockchain and the Future of Finance in Art

By: Steve Masur

Join us on Monday, December 4 at the National Arts Club (7:30PM) to discuss Cryptocurrency, Blockchain and the Future of Finance in Art

About the Panel:

In recorded music, so much of the money is kept by middlemen that songwriters and musicians are looking to a new kind of money as a means of getting back some of what is derived from their craft.  It is called Bitcoin, a cryptocurrency powered by a technology called Blockchain, which records and encrypts transactions in a transparent public ledger. Pledge Music & Dot Blockchain founder Benji Rogers, Steven Masur, Ujo Music product owner Jack Spallone and painter/visual artist Lindsey Nobel will discuss the promise of Blockchain, and how it can change the artistic and creative world.

REGISTER TO ATTEND 

About the speakers:

Steven Masur has over two decades of experience advising emerging and established businesses on new opportunities and business challenges. He focuses his practice on corporate finance, M&A, intellectual property, entertainment, emerging businesses and strategic guidance. Steve brings a unique mix of legal, business, and strategic experience to bear on client matters. He has counseled enterprise level clients including Shazam, Virgin Mobile, Liberty Media, Yamaha, Nielsen Buzzmetrics, Bob Vila and Conde Nast Publications in corporate, digital media, and new business matters. He has also helped emerging businesses in a wide variety of sectors, and is especially knowledgeable in media, entertainment, advertising, consumer products, food and technology, including mobile, games, digital music, social media, augmented and virtual reality, software and hardware.

Benji Rogers is a British-born, New York-based entrepreneur, technologist, musician, and the founder of Pledge Music. An early pioneer of the direct artist-to-fan model of distributing music, Rogers founded Pledge Music based on the belief that artists should share the process of their artistic output, not just the finished product. Straddling the worlds of technology and music, Rogers uses his dual background to advise a range of tech and music companies on how to bridge the divide between their industries. To address the unique challenges facing artists releasing their work in the digital economy, Rogers also co-founded the Dot Blockchain Music Project, an attempt to create a decentralized global registry of music rights using blockchain technology that will overhaul the commercialization and movement of music online. In addition to these projects and his ongoing role with Pledge, Rogers is also an instructor at Berklee College of Music on digital trends and strategies in the industry. A dedicated patron of arts and creativity in all its forms, Rogers’ work is rooted in a belief in the democratizing power of the internet; he will always be “loving your work.”

Lindsey Nobel is a mixed-media artist living and working in Los Angeles. Her art employs various media to explore ideas of technology, science and human connection. Lindsey’s artistic process stems from investigating memory, dislocation and environment.  Attachment and reflection. In 1992 she began developing a drawing language that, for better or worse, connects us to computers. Lindsey’s work exposes the invisible world to which we are utterly attached via the Infosphere.

Jack Spallone comes from the US with a diversified background working in music and tech. Starting as a music and events blogger while still an undergrad, Jack soon expended his experience into talent buying and inevitably managing artists. After launching the careers of two Billboard artists, Jack’s attention turned to exploring alternative methods for maintaining a career as a musician, leading him to thinking about how blockchain and decentralized technology could usher in new financing, licensing, and interactive opportunities for artists. Today, Jack drives the product vision for Ujo Music, focused on solving the many problems of music’s digital supply chain while also growing the revenue pie for rights holders.

*In addition to this event, we also have another Cryptocurrency and Blockchain event coming up November 16. See more info and register to attend here.

thumbnail of creative tech week graphic

Exploring the Impact of the Blockchain on Music and the Arts

By: Steve Masur

Tracking Creative Digital Rights:
A Panel and Reception Exploring the Impact of the Blockchain on Music and the Arts

Join us on November 16 (7PM ET) at the Abrons Arts Center (466 Grand St. at Pitt St., Lower East Side, Manhattan) to learn about new paths for managing digital creative property with the emergence of the blockchain, a tamper-proof distributed record keeping system. This panel of experts will explore issues of artist, management, label, dealer, collector, customer control over licensing, royalties, attribution, sampling, provenance, copyright and transparency at this kickoff event to the Open Source Music Festival.

Panelists include: Ken Umezaki, Co-Founder and Chief Business Officer, Dot Blockchain Music; Daniel Doubrovkine, Chief Technology Officer, Artsy; Jennie Rose Halperin, Communications Manager at Creative Commons; and Steven Masur, Senior Partner MG+. Isabel Walcott Draves, President of Creative Tech Week, is moderator.

REGISTER TO ATTEND

About the Panelists:

Steven Masur has over two decades of experience advising emerging and established businesses on new opportunities and business challenges. He focuses his practice on corporate finance, M&A, intellectual property, entertainment, emerging businesses and strategic guidance. Steve brings a unique mix of legal, business, and strategic experience to bear on client matters. He has counseled enterprise level clients including Shazam, Virgin Mobile, Liberty Media, Yamaha, Nielsen Buzzmetrics, Bob Vila and Conde Nast Publications in corporate, digital media, and new business matters. He has also helped emerging businesses in a wide variety of sectors, and is especially knowledgeable in media, entertainment, advertising, consumer products, food and technology, including mobile, games, digital music, social media, augmented and virtual reality, software and hardware.

Ken Umezaki is an independent investor and business advisor for music startups and artists, through his company Digital Daruma, with a specific focus on artist facing music and media service companies. Digital Daruma has made select direct investments in music artists and songs, and has also co-founded Dot Blockchain Media, a public benefit corporation that has introduced a new music file technology architecture to modernize copyright management and the music supply chain fit for the digital music age. Ken currently is the Chief Business Officer of dotBC. His past experience includes 25 years in financial services trading, asset management and senior management positions. He is also an experienced musician, and currently plays bass in the band Fifth of Bourbon. Lastly, he is involved in a number of music foundations and academic organizations, including serving on the boards of Little Kids Rock, and Future of Music Coalition, as well as advisory board position for programs at New York University and Berklee College of Music.

Daniel Doubrovkine (aka dB.) is a seasoned entrepreneur, technologist, CTO at Artsy.net in New York, the largest online fine art marketplace and publication. Daniel graduated from University of Geneva in late 90s with a degree in Computer Science, and founded and sold Vestris Inc., an early stage technology start-up right after college. He joined Microsoft as Development Lead, was Director at Visible Path, then Architect and Development Manager at Application Security. Daniel is the creator and maintainer of many popular open-source projects and a lifetime artist.

Jennie Rose Halperin is the Communications Manager at Creative Commons. She makes the CC communications and brand sparkle and works with communities to tell their stories through a variety of media. As a freelance writer and editor, Jennie is currently working with MIT’s CoLab, where she is assisting in the creation of a book and multimedia series on social justice for SAGE Publishing and the SEIU.  Before joining Creative Commons, Jennie worked for Safari Books Online/O’Reilly Media as the Product Engagement Manager where she managed community marketing and test-driven product growth with a mighty team of technologists dedicated to innovation in online learning. She was previously at Mozilla on the Community Building Team and earned her masters degree in Library Science.

Isabel Walcott Draves (moderator) is the founder of Leaders in Software and Art (LISA) and President of Creative Tech Week. She is an Internet entrepreneur with over two decades of experience organizing technology communities, conducting research and managing large projects.  In 2015, she started Creative Tech Week to create a network of creative and business professionals originating new technology-driven content in media, entertainment, advertising, music and the arts.  Since 2009, Draves has convened Leaders in Software and Art, bringing together cutting-edge software and electronic artists, curators, collectors, and coders to share their work in conferences, shows and salons. Draves founded the first website for teen girls, SmartGirl.com, from 1995-2001; managed content publishing systems at Bertelsmann and directed an elite think tank for cybersecurity executives at Gartner in the 00’s; and has provided expert consulting to dozens of startups and Fortune 100 companies nationwide.

Enjoy wine, beer and appetizers with speakers and guests after the panel discussion at an upstairs reception.

Programming provided by Leaders in Software and Art and Creative Tech Week.

photo of crowd at a concert event

German American Chamber Of Commerce in New York

By: Steve Masur

On November 7th, Steven Masur is moderating a panel at the Consulate General of Germany German Mission as part of a conference for German businesses involved in event production, touring, ticketing, content licensing and acquisition. This panel is part of a delegation trip for German companies from the event and concert industry who will be visiting New York City and Los Angeles from November 6th-10th. Representatives will meet with local industry leaders and research institutions to exchange ideas and lay the groundwork for future cooperation along with strategic partnership opportunities.

About the Panel:

Growth Opportunities, Legal Roadmaps, and Market Differentiators: From Germany to the United States 

The United States is known as one of the most profitable markets for touring, concerts, live events, and content acquisition. While there is a lot of opportunity, there are also many specific legal paths companies must take to operate; especially foreign entities and brands. In addition to this, there are unique market differentiators that are specific to the US for reaching target audiences, building communities and engaging with consumers. In this panel, Steven Masur will discuss the legal path to operating in the US. He will be joined by investor and marketing professional David Wingate and Ritesh Patel, CEO of Ticket Fairy, a touring and concert ticket platform; who will discuss unique opportunities and pain points for operating in the US.

REGISTER TO ATTEND

About the participants:

Agenda Production International is an event and production company for creative full service capabilities and among the leading entertainment industry agencies in Europe. Their product and service spectrum ranges from the conception up to the realization of over 400 performances per year in dance, music and entertainment.

C2Concerts is focused on organizing gigs and shows as well as promoting concerts, tours and events all over Germany and acts as a full service event-planning agency. Since 2013, the Stuttgart based company has also been producing musicals for children and families.

As one of the leading companies in tour production, Showservice Int. is pursuing a very high quality standard, to create a high-class but at the same time affordable cultural program for over 20 years now. All of their musical productions will turn into a one of a kind experience, because of up-to-date topics and professional work in front and behind the curtains and are currently being distributed within Europe.

PMS Crew Support is a professional personnel service provider specialized in the events industry. The company covers most staffing demands of the following event types: concerts, major events, stage and tent construction, trade fair construction, industrial customers’ events, film, television and media productions. The company’s target partners are tour and concert promoters as well as artist and event agencies which are looking for a reliable partner in Europe. PMS would either provide them with the personnel needed or take on the local realization of the project.

Reservix is a leading ticketing company in Germany that supports more than 7,000 organizers in the areas of concerts, sports, theater, tourism, touring and trade fairs. Reservix is a full-service provider and develops individual 360 ° solutions for its customers through all sales channels.

Satis&Fy has solidified its position as a leading international provider of cutting-edge event and media technology, scenic design, and room-in-room solutions. Encompassing a perfect blend of unconventional ideas, the spirit of innovation and the courage to take the path less traveled. The company acts as contact for all services which arise with a professional event production.

Schokopro works in many areas in the event production field such as media technology, scenic design and communication.Their USP is offering one-stop services with an experienced and passionate in house personnel. Schokopro produces events for both the entertainment industry (such as band concerts) and big corporations.

New York Virtual Reality Expo (10/26/17) with Hooke Audio, Silver Sound

By: Steve Masur

This coming Thursday, October 26th at 11am ET, Steve Masur will be moderating a panel at the New York Virtual Reality Conference. The panel features CEOs from the professional audio world that are emerging as experts in virtual and augmented reality and its applications. Participants include Anthony Mattana (Founder and CEO of Hooke Audio), Robin Shore (Founding Member and Co-Owner of Silver Sound), Albert Leusink (Independent Audio & Music Professional), and Karim Douaidy (Co-Founder and Creative Director of Chapter Four). The purpose of this panel is to educate attendees on spatial audio and lead a conversation on how content can be experienced.

About the speakers:

Anthony Mattana is the CEO and Co-Founder of Hooke Audio, a spatial audio company with a very unique product offering. Anthony was originally trained as a theatrical sound designer and has worked on Broadway musicals such as King-Kong and Motown.  Anthony will be discussing Hooke Audio’s newest release, Hooke Verse, bluetooth headphones that use binaural microphones to capture 3D audio. Specially placed microphones in the headphones allow an innovative way for you to capture sound as you hear it, allowing you to re-experience moments.

Robin Shore is the Co-Founder of Silver Sound, a post-production sound studio that offers complete audio and video production services. Originally focusing on  on location recording, Robin switched into the world of studio recording and post-production. During the panel, Robin will will draw from his experience at Silver Sound discussing how the company is able to take music videos, narratives and animations from pre-production to post-production in the VR space.

Karim Douaidy is the Co-Founder and creative developer for Chapter Four, which is a full service production company that concentrates in VR, 360 and immersive media. The Chapter Four team is dedicated to the creation of  cinematic and interactive immersive experiences. Currently, they are one of the few companies that has an end-to-end workflow that operates around spacial media.

Albert Leusink is an independent audio and music professional with a bachelors degree in music production and engineering from the Berklee College of Music. Albert has more than 20 years of experience in the media world including music, advertising, radio, television and film. He contributed to numerous  Grammy, Emmy, and Clio nominated projects and has worked with notable clients such as Queen Latifa, Rolex and JetBlue.

If you would like to attend this panel, you can register here.

three guys sitting in chairs

Entrepreneurship Bootcamp Series October 10 – Raising Money For Your Startup

By: Rob Griffitts

Thank you for attending our Entrepreneurship Bootcamp Series on October 10. The series is a first-of-its-kind monthly session working with experts where top industry experts talk about various parts of creating a startup with the goal to help founders over any hurdles that they may have.

On October 10th, the following people spoke:

Asha Saxena, who is a professor at Columbia University, entrepreneur in residence at the Eugene Lang Entrepreneurship Center, CEO of Future Technologies Inc. and one of the winners of NJBIZ’s Best 50 Women in Business award. She will be talking about how to raise money for your startup.

Michael Mulvaney is a Regional Sales Consultant within the technology team at TriNet, that helps power business success with extraordinary HR. He also is an advisor to tech startups and founders of various growing companies. He provides an unique perspective, since many of his clients are startups, to the theme of the event.

In addition a panel of entrepreneurs who have raised funds in the past  came to share their experiences with us! Panel members included Dilip Rao (Former investment banker & CEO of Sharebite), Lyle Pinder (Founder and CEO of Auviso Inc.), and more. All members of the panel have raised over $1M and have recently closed their rounds.

The Entrepreneurship Bootcamp Series is for you if:
– You are looking to understand the art of converting ideas to reality
– You are motivated to learn more about entrepreneurship opportunities and experiences
– You are ready to step up your game in the world of entrepreneurship with a great community of self-starters
– You are interested in networking efficiently with our newly launched EventMate app

Whether your goal is to:
– Build a strong foundation for your startup
– Understand ways to became an excellent leader and manage your ongoing opportunities
– Expand your networking platform in different sectors and industries
Then this workshop is the perfect fit for you!

Agenda:
6:00-6:10pm: Registration & Welcome
6:10-6:25pm: Asha Saxena’s Presentation
6:25-7:00pm: How to Raise Money for Your Startup Panel
7:00-7:15pm: Q&A
7:15-7:45pm: TriNet Presentation
7:45-8:00pm: Q&A
8:00-8:30pm: Networking

Stay tuned for the next event which will be announced on our site soon!

Equity Dilution: Is the Juice Is Worth the Squeeze?

By: Steve Masur and Cassidy Lopez

If you’ve ever made orange juice from concentrate, you probably already have a good feel for how equity dilution works. When you put the orange juice concentrate in a pitcher, you have a small amount of, well, really strong concentrated juice. As you add water, the water dilutes the original concentrate, which then represents only a small portion of your beverage. The same holds true for equity.

What is Equity Dilution?

Equity dilution refers to the reduction in the percentage ownership interest—shares of stock or membership units—of current stockholders of a corporation or members of a limited liability company when the company issues new shares or units, whether that be through a private placement of securities or an initial or follow-on public offering (IPO/FPO). The number of shares or units held by existing shareholders or members remains the same, though when the company increases the total number of shares or units issued and outstanding, each preexisting stakeholder will subsequently own a smaller ownership percentage of the enlarged pie. This sounds scary to stockholders and LLC members, but keep in mind that a company’s value increases whenever money is infused. In other words, existing stockholders or LLC members will own a smaller portion of the company, but the reality—or the hope anyway—is that what they do own is worth more.

Calculating Equity Dilution

To calculate equity dilution, you as a stockholder or LLC member need to know three things: (1) how many shares/units you own, (2) how many shares/units were outstanding prior to the investment, and (3) how many new shares/units were issued in the financing.

  1. Determine Your Original Ownership Percentage: Divide the number of shares/units you currently own by the total number of the company’s issued and outstanding shares/units prior to the investment. For example, if you own 20,000 shares of a corporation and the corporation has issued 100,000 total shares of stock, you own 20% of the company.
  2. Find the Number of Shares/Units Outstanding After the Financing: Add the newly issued shares/units to the total number of shares/units issued and outstanding by the company prior to the investment. In this example, if the corporation issues an additional 25,000 shares to a new investor, add 25,000 to the 100,000 then-outstanding shares to find the company now has 125,000 total shares of stock outstanding.
  3. Calculate Your New Ownership Percentage: Divide the number of shares/units you currently own by the total number of shares/units issued and outstanding by the company after the investment. Continuing with this example, if you own 20,000 shares of the corporation, and now the corporation has 125,000 shares outstanding, divide 20,000 by 125,000 to find you now own only 16% of the company.
  4. Determine Your Equity Dilution: Subtract your new equity percentage from your old equity percentage to find the amount by which you have been diluted by the investment. In this example, subtract 16% from 20% to find you own 4% less of the company than you did before.

Staying on this example, let’s now assign a valuation to the company. Prior to the investment, the corporation had a pre-money valuation of $1,500,000. The corporation issued 25,000 shares to a new investor in exchange for $500,000, making the company now worth $2,000,000. Prior to the financing, you owned 20% of the company, which at its prior valuation, meant your ownership interest was worth $300,000, or $15 per share. After the financing, your ownership interest was diluted to 16%, but the company’s new post-money valuation makes your ownership interest worth $320,000, or $16 per share. You own a smaller percentage of the company, but that percentage is now worth more.

Check out this tool from OwnYourVenture as a great resource to visualize equity dilution.

Preventing Dilution

Practically speaking, the only way to actually prevent dilution is to be the sole owner of your corporation or LLC. Though for founders who intend to take any outside investment, the key is to only grant equity in exchange for something (or someone) that will generate more value than what is given up. In other words, that 4% equity dilution should throw off a greater than a 4% increase in value to the company. Mechanisms to prevent dilution do exist, more often in later stage equity financings, though how they are structured and their implications to the various stakeholders vary and will be discussed in a later LawTalk blog post.

graphic of copyright sympbol

DMCA Safe Harbor: Protecting Yourself from Copyright Infringement

By: Jon Avidor

The Digital Millennium Copyright Act, 17 U.S.C. § 512, (“DMCA”) provides Internet communications service providers, including website operators, with immunity from copyright infringement liability for, among other things, infringing material posted on its sites by its users, provided the online service provider implements a procedure that allows copyright holders to report alleged infringement of its protected work on its website or through its service.

The type of “service provider” exempted from copyright infringement liability under the DMCA is defined as “an entity offering the transmission, routing, or providing of connections for digital online communications, between or among points specified by a user, of material of the user’s choosing, without modification to the content of the material as sent or received” or “a provider of online services or network access, or the operator of facilities therefor.” In practice, service providers are the conduits for transmitting digital online communications among users and include telecommunications companies or ISPs like Verizon or Comcast as well as the companies that provide online services and networks, including websites. It’s a broad definition.

To avoid liability for copyright infringement, a service provider must not have prior actual or constructive knowledge of the infringing material, not “receive a financial benefit directly attributable to the infringing activity,” have a notice and takedown procedure in place for reporting infringing material, and, where appropriate, terminate repeat infringers accessing the site or service. Here are general guidelines to remain protected by the DMCA safe harbor:

Before Posting Terms of Use or Terms of Service

  1. Review procedures for dealing with intellectual property infringement as set forth in the service or website’s terms of use or terms of service.
  2. Establish an email address to receive notices of claimed infringement and counter notifications, such as “copyright@yourdomain.com” or “IP@yourdomain.com,” and update the email address in the terms of use or terms of service.
  3. Choose someone within the company to receive notices of claimed infringement and register that person as a “designated agent” with the U.S. Copyright Office’s DMCA Designated Agent Directory. Agent designations expire after three years and service providers will have to re-register to remain current.

An Note on Designated Agents: The Copyright Office introduced an electronic directory of DMCA designated agents on December 1, 2016, and subsequently required any service provider with a designated agent prior to November 30, 2016 to re-register its agent through the new online system by December 31, 2017 to continue its protection under the DMCA safe harbor. For more on this change and its implications, see our Legal Alert for Online Service Providers.

Upon Receiving a Notice of Claimed Infringement

The DMCA’s safe harbor and notice and takedown procedures only apply to alleged copyright infringement, though comprehensive terms of use or terms of service will provide a similar mechanism for trademark or other intellectual property infringement allegations and complaints.

  1. Review the Notice of Claimed Infringement to determine whether it sets forth the formal requirements per the posted terms of use or terms of service.
  2. If the Notice of Claimed Infringement does not meet the formal requirements, the service provider may reject it and notify the reporting party that it must resubmit with the required information before it will consider taking action.
  3. If the Notice of Claimed Infringement does meet the formal requirements, the service provider should expeditiously remove or disable access to the material that is claimed to be infringing and then notify the user/poster that its material was removed and that they may choose to file a Counter Notification to reinstate the content according to the procedures set forth in the terms of use or terms of service.

Upon Receiving Counter Notification

  1. Review the Counter Notification to determine whether it sets forth the formal requirements per the posted terms of use or terms of service.
  2. If the Counter Notification is non-compliant, the service provider may reject it and notify the responding party that it must resubmit with the required information before you will consider reinstating their content.
  3. If the Counter Notification does comply with the formal requirements, the service provider should notify the reporting copyright holder and provide a copy of that Counter Notification.
  4. If a proper Counter Notification is provided and the complaining copyright holder does not file a lawsuit against the alleged infringer within ten to fourteen business days and notify the service provider that it has done so, the service provider may restore the removed material. However, even if an alleged infringer has complied fully with the Counter Notification procedure, a service provider is not necessarily obligated to restore the reported content. Comprehensive terms of use or terms of service will reserve a service provider’s right to terminate any user and prevent it from using or accessing the website and services after receiving even a single Notice of Claimed Infringement.

Unless a service provider has staff trained in evaluating and responding to notice and takedown requests, they should seriously consider involving legal counsel to make those determinations because, as discussed below, non-compliance or otherwise lackadaisical attention to claims of copyright infringement can cause service providers to blow their DMCA safe harbor protection and face costly claims of contributory copyright infringement.

Repeat Infringers

The DMCA safe harbor provisions require that service providers “adopt and reasonably implement” a policy for terminating the accounts of any “repeat infringers” where appropriate. What’s sometimes troublesome is that the DMCA does not define who is a “repeat infringer” and what the “appropriate circumstances” are that would require the service provider to terminate an infringer’s access, so service providers have some discretion in setting and implementing their own policies. For example, a service provider’s repeat infringer policy might be to notify and terminate any alleged infringer’s account or access if the service provider has received and acted on more than, let’s say, two DMCA-compliant Notices of Claimed Infringement concerning that user. Once a service provider receives a Notice of Claimed Infringement, the law considers the service provider to then have actual knowledge of multiple instances of infringing content on its site or through its service and, therefore, must act to remove it and prevent repeat offenders, or risk losing its DMCA protection from copyright infringement liability.

The risk of non-compliance with formal DMCA requirements can be costly. In December 2015, Cox Communication lost its DMCA immunity and was found guilty of willful contributory copyright infringement and ordered to pay a $25 million judgment to music publisher BMG for disregarding infringement notices and its repeat infringer policy against users who freely passed copyrighted music through its system. According to The Hollywood Reporter, “Although Rightscorp detected 1.847 million instances of infringement and collected more than 150,000 copies of copyrighted works downloaded directly from Cox subscribers, according to testimony presented at trial, there was 1,397 copyrighted works in contention in the lawsuit. That means that the $25 million verdict amounts to about $18,000 for each song infringed.” An appeal to the U.S. Court of Appeals for the Fourth Circuit is currently pending.

The Pitfall of Trademark Genericide: When Household Names and Brands Collide

By: Jon Avidor and Qualia C. Hendrickson

Escalator. Heroin. Dry Ice. Teleprompter. Laundromat. Each of these words or phrases were originally coined as trademarks, though have since lost their distinctive nature and exclusivity as they slowly became part of the American lexicon in the years since their introduction. They’ve fallen victim to genericide.

“Genericide” occurs when a once-distinctive trademark becomes the commonly used and understood word for a certain type of good or service, in general, and not in reference to any one particular product or manufacturer. Back to our initial list of genericided marks, when people take an escalator, all they know is that they’re hopping on a mechanically ascending or descending staircase and praying it won’t eat their shoelace. As early as 1950, the general public no longer associated the escalator with its 1891 inventor (and Lehigh graduate) Jesse Reno or the Otis Elevator Company, which trademarked “escalator” in 1900. See Haughton Elevator Co. v. Seeberger, 85 U.S.P.Q. (BNA) 80 (Apr. 3, 1950). A trademark can become generic either through the trademark owner’s improper policing of the mark against infringing uses or the public’s use of the mark as the general name for similar good and services. For example, in an October 2013 SEC filing, Twitter Inc. expressed concern that the term “‘Tweet’ could become so commonly used that it [could become] synonymous with any short comment posted publicly on the Internet.” Similar to Xerox, Band-Aid, Kleenex, and TABASCO, Twitter launched a public relations campaign as early as 2010 on how to properly use the word “Tweet,” which drew some vocal opposition, including from the cofounder, CEO, and editor-in-chief of Business Insider.

Trademark owners often lose their exclusive right to use their respective trademarks or service marks due to genericide in two ways: (1) in trademark infringement litigation where a defendant successfully argues genericide as a defense resulting in the mark’s cancellation or (2) where a challenging brand, producer, or manufacturer seeks to cancel the trademark owner’s trademark registration. In deciding whether a trademark has become generic, courts use the primary significance test and ask “whether the primary significance of the term in the minds of the consuming public is now the product and not the producer.” Elliott v. Google, Inc., No. 15-15809 (9th Cir. May 16, 2017). What is relevant is not whether some small portion of the public considers the term an indicator of the source, but rather what the “entire consuming public” considers the term to indicate. Bayer Co. v. United Drug Co., 272 F. 505 (S.D.N.Y. 1921). Courts also consider whether declaring the mark generic will create a likelihood of confusion among the consuming public and induce consumers into buying a competitor’s product when they intended to purchase the one made by the original trademark owner.

The following cases illustrate the risks to trademarks posed by, first, a trademark’s owner improper policing and, second, the public’s appropriation of the mark in relation to the type of goods or services in general.

Improper Policing Against Infringement

Asprin
Bayer Co. v. United Drug Co., 272 F. 505 (S.D.N.Y. 1921).

Bayer once owned exclusive rights to call the drug acetylsalicylic acid “Asprin” but lost its trademark in one of the greatest examples of genericide. The pharmaceutical company tried to prove the strength of their mark by showing that pharmacists and chemists understood the term “Aspirin” as a reference specifically to Bayer’s drug, but ultimately lost on the basis that whether a mark is generic does not depend on whether a select section of the public understands the mark as a source identifier, but rather whether the public as a whole understands the mark to refer to the product and its single source.

Thermos
American Thermos Products Co. v. Aladdin Industries, Inc., 207 F. Supp. 9 (D. Conn. 1962).

Because it failed to stop others from using “thermos” in connection with insulated bottles and the like, the company that originally owned and produced the bottles under the trademark Thermos is now limited in its rights to its trademark. Additionally, the company failed to prevent generic uses of the term by non-trade publications or follow up with trade publications that agreed to discontinue their generic use but persisted. As a result, other insulated container manufacturers may use the term “thermos” as long as they eliminate the risk of confusion among consumers by preceding the term with their own name or brand and display the term “thermos” in all lowercase, same sized letters.

Public Appropriation of the Trademark

Cellophane
DuPont Cellophane Co. v. Waxed Products Co., 85 F.2d 75 (2d. Cir. 1936).

The original creator of “cellophane” lost his grounds for trademark protection because the mark was employed to describe the product with no other descriptive words, e.g., “Cellophane brand transparent wrapping.” Producers developing products that are the “first of their kind” in the marketplace should keep in mind what the term means to the buying public, which will be central to a court’s analysis. An inventor who does not provide the public with an alternate name and uses only the trademark to market the product will likely subject the trademark to genericide.

Beanie Baby
Ty Inc. v. Perryman, 306 F.3d 509 (7th Cir. 2002).

While Ty Inc. still holds its trademark for BEANIE BABY®, it failed to prove that the use of the term “beanies” for second-hand beanbag stuffed animals diluted the value of its trademark and misled the public regarding brand affiliation. Citing the difference between trademark dilution and fair use, the court noted descriptive or suggestive marks are better candidates for becoming generic than more distinctive marks. If a trademark is a more appealing term than its generic name—just as the term “beanies” is a more appealing name for “beanbag-stuffed animals”—the trademark owner may lose its trademark protection due to public appropriation as a convenient short-hand. Meanwhile, I’m still waiting for my Beanie Baby collection to be worth, like, a million bucks some day—the Millennial dream.

What we can learn from these cases is that trademarks are not well suited for “Set It and Forget It”®, but instead require attention. What trademark owners do with their marks—registered or not—can have significant consequences on the value of their brands as they gain greater market penetration and become household names.

Was Silicon Valley “Bro Culture” to Blame for Uber CEO’s Resignation?

By: Steve Masur and Cassidy Lopez

Ride-sharing giant Uber‘s Travis Kalanick has been forced to step down from his role as CEO of the company a week after taking an “indefinite leave of absence” amid growing backlash over his leadership and corporate culture at Uber. Uber has been rocked by what seems to be a never-ending series of scandals, PR crises, and staff departures (since the beginning of this year, the company has lost fourteen of its top executives), leaving investors to question whether Kalanick was fit to continue leading the company.

The company’s rough ride began on January 19th, when the Federal Trade Commission issued Uber a $20 million fine for misleading drivers about pay. A week later, a viral campaign to #DeleteUber was started after Uber turned off surge pricing at JFK airport in New York City to draw more customers during a taxi driver strike in response to President Trump’s travel ban. Kalanick also received backlash for joining Trump’s Strategic and Policy Forum, though a few days after unrelenting criticism on social media, Kalanick resigned from the economic advisory board. However, by February, the New York Times reported that almost 200,000 users had deleted the Uber app from their smartphones.

In mid-February, a former Uber software engineer published a powerful blog post alleging a culture of sexual harassment and gender bias at the company. An internal investigation into harassment and discrimination was launched, led by former U.S. Attorney General Eric Holder and Uber board member Ariana Huffington. The investigation has led to 20 firings so far. The firings were aimed at addressing deeply rooted cultural and managerial issues within the company, stemming from an inherent misogynistic culture within the Silicon Valley startup community. Holder issued a report in June recommending that the company reevaluate Kalanick’s leadership at the company as well as “enhance board oversight.” Many have criticized the “toxic bro culture” which exists in Silicon Valley. Investors have an affinity for favoring young, good-looking men, hustlers and go-getters, with an aggressive nature who will do what it takes to make sure the company takes off. “Bro” culture may have its perks in the beginning in leading start-ups to rapid growth and quick profits, but it also encourages ignoring the rules (or, at the very least, pushing boundaries beyond what’s traditionally acceptable) and doing whatever it takes to win no matter the circumstances. That attitude, which is what made Uber a $70 billion company, also, unfortunately, led to Kalanick’s downfall. Leslie Miley, a former software engineer at Slack, may have put it most precisely: “Maybe there’s no morality in money.”

Amid all of this scandal, Uber was also facing an intellectual property lawsuit by Alphabet Inc.’s self-driving car subsidiary Waymo and an investigation by the U.S. Department of Justice into software tools that were allegedly being used to deceive some law enforcement. UPDATE (2/9/2018): Waymo and Uber have reached a settlement their trade secret lawsuit over self-driving vehicle technology, in which Waymo will obtain 0.34% of Uber’s equity, valued at $245 million at a $72 billion valuation. In a statement, new Uber CEO Dara Khosrowshahi denied any allegations of unfair competition and trade secret misappropriation, but expressed “regret” over Uber’s actions and looked ahead to a cooperative partnership with Alphabet.

Kalanick’s “indefinite leave of absence” was not enough for some investors who were growing weary of the leadership at the head of a company they had pumped millions of dollars into. Five major shareholders, which include some of the tech industries top venture capital firms, notably Benchmark, LOWERCASE capital, Menlo Ventures, First Round Capital, and Fidelity Investments, and who together hold about 40 percent of Uber’s voting power, demanded Kalanick’s resignation. The shareholders are calling for a board-led search for a new Chief Executive Officer and are demanding that the company immediately hire an experienced Chief Financial Officer. In a day and age where venture capital funding has profoundly changed the U.S. economy, investors have a large influence over companies, as evidenced by the shareholder letter calling for the resignation of Kalanick. A 2015 Stanford University study found that 43% of all public companies founded since 1979 were backed by venture capital firms, and this number has only been on the rise two years later.

The venture capitalists funded Travis Kalanick to do exactly what he did, which is to ignore the rules, eat for lunch anyone who got in Uber’s way, and build an enormous amount of value. It was truly amazing how Uber was able to bust the national and world-wide monopolistic trusts of taxi and limousine authorities. However, Uber’s mistake was not transitioning sooner to a more upright American corporate culture the way other Silicon Valley startups have done. So the question now remains: who will be the new head of Uber? Kalanick will remain a part of Uber since he still owns a majority of Uber’s voting shares, but shareholders and board members are surely on the hunt for someone experienced, professional, and ready to get the company back on track and back in the good graces of millions of users around the world.

Trademark Case Roundup

By: Jon Avidor and Qualia C. Hendrickson

As we recently reported in our blog post Disparaging Trademark or Reclaimed Slur? The Supreme Court Weighs In, the high court ruled 8-0 in Matal v. Tam that the Lanham Act’s ban on disparaging marks was an unconstitutional violation of the First Amendment and allowed Simon Tam to move forward with his trademark application for his Asian-American dance-rock band The Slants. This case will certainly open the door to registering many other marks previously rejected or cancelled by the United States Patent and Trademark Office on the basis of their offensiveness, including the polarizing Washington Redskins’ recently cancelled trademark.

In this post, we will review other recent trademark cases that may have implications on businesses in the media, technology, and consumer products and services spaces.

Elliott v. Google, Inc., No. 15-15809 (9th Cir. May 16, 2017).

Issue: Whether the GOOGLE trademark lost its trademark protection on the basis that the word “Google” had become a generic name for the act of searching the Internet. “Genericide” occurs when a trademark has lost its value as a distinctive brand-identifier when “the public appropriates a trademark” and uses the mark to refer generally to a type or class of goods or services without regard to any particular brand or source, and “the primary significance of the term in the minds of the consuming public is now the product and not the producer.”

Decision: The Ninth Circuit Court of Appeals decided in favor of Google, holding that a claim of genericide must relate to a particular type of good or service and that the use of a trademark as a verb does not automatically constitute generic use. GOOGLE is still a protected trademark even if it is used as a verb, as in “I Googled current trademark cases,” because the primary significance of the term in the minds of the public is a single internet search engine, Google, not of search engines in general.

Belmora LLC. v. Bayer Consumer Care AG, 819 F.3d 697 (4th Cir. 2016)cert. denied, 580 U.S. __ (2017).

Issue: Whether a foreign corporation may sue under the Lanham Act—the American federal trademark act—over the unauthorized use of a foreign trademark that has never been used in the United States of America or been registered with the United States Patent and Trademark Office.

Decision: The Fourth Circuit Court of Appeals reversed the lower district court’s holding in favor of an American trademark holder and ruled that a Mexican trademark holder could sue under the Lanham Act. Section 43(a) of the Lanham Act “does not require that a plaintiff possess or have used a trademark in U.S. commerce as an element of the cause of action” for unfair competition, such as for false association and false advertising. The law only requires that a plaintiff be “likely to be damaged” and show its prospective injury is in the “zone of interest” of the Lanham Act, i.e., the deceptive and misleading use of a trademark. Belmora petitioned the Supreme Court to reconsider the Fourth Circuit’s ruling and the Court denied certiorari on February 27, 2017.

Tiffany & Co. v. Costco Wholesale Corp., 127 F. Supp. 3d 241 (S.D.N.Y. 2015).

Issue: Whether “Tiffany” had become a generic term for a style of diamond ring setting, and whether punitive damages were available for clear evidence of infringement.

Decision: The New York district court denied Costco’s claim that using the term “Tiffany” in a generic manner to describe a style of jewelry was covered under the fair use exception to trademark infringement. In light of the evidence of Costco’s clear intention to imitate Tiffany & Co.’s mark and to confuse consumers, Tiffany & Co. sought punitive damages for the infringement. Although the Lanham Act (specifically, 15 U.S.C. §1117(a)) does not allow courts to grant punitive damages in trademark infringement cases, N.Y. General Business Law § 360-M (for registered marks) and New York case law (for all marks) permit punitive damages where an infringer uses another’s trademark to sell a competing product in bad faith, what the court called “wanton or willful fraud or other morally culpable conduct to an extreme degree.”

Princeton Vanguard, LLC v. Frito-Lay North America, Inc., 786 F.3d 960 (Fed. Cir. 2015).

Issue: Whether a trademark that is a compound term (two or more words strung together) should be evaluated for distinctiveness on the strength of the individual words or the strength of the mark in its entirety.

Decision: The Federal Circuit Court of Appeals held there is only one legal standard for genericness, regardless of whether the mark is a compound term or a phrase: (1) identifying the genus of goods or services at issue and (2) assessing whether the public understands the mark, as a whole, to refer to that genus. In evaluating the mark PRETZEL CRISPS, the Trademark Trial and Appeals Board was incorrect in analyzing genericness by the meaning of the individual words instead of the compound mark as a whole.

Couture v. Playdom, Inc., 778 F.3d 1379 (Fed. Cir. 2015).

Issue: Whether offering a service, but not actually providing the service, is sufficient to constitute “use in commerce” to support the mark’s registration as a protectable trademark.

Decision: A mark is “used in commerce” in connection with services, and therefore protectable, when it is (1) used or displayed in the sale or advertising of services and (2) the services are rendered in commerce, which requires a “bona fide use of the mark in the ordinary course of trade,” and at a bare minimum, in an open and notorious public offering or advertisement. Such advertisements must relate to an existing servicea service mark cannot be deemed “used” in commerce when the service has been advertised to the public, but no service has yet been rendered.