Post Tagged with: "Copyright Board"

Assignments of copyrights photostat copies by mollyali (CC BY-NC 2.0) https://flic.kr/p/5JbsPE

Why The Copyright Board Decision Affirms Canadian Education’s Approach to Fair Dealing

The Copyright Board of Canada delivered a devastating defeat to Access Copyright on Friday, releasing its decision on a tariff for copying by employees of provincial governments. Yesterday’s post provided a detailed review of the decision, including the Board’s findings on the limits of Access Copyright’s repertoire, the scope of insubstantial copying, and the proper interpretation of fair dealing.

The decision focused on copying within provincial and territorial governments, but much of the analysis can be easily applied within an education context. Indeed, since the Supreme Court of Canada 2012 copyright decisions, there has been a very public battle over the validity of fair dealing guidelines that have been widely adopted by the Canadian education community. I’ve written several posts on the education consensus (here and here) and there are no shortage of the fair dealing guidelines readily available online.

May 26, 2015 — 2 comments — News

Copying will start. by Chris Campbell (CC BY-NC 2.0) https://flic.kr/p/2XWjMK

A Licence With Limited Value: Copyright Board Delivers Devastating Defeat to Access Copyright

The Copyright Board of Canada delivered a devastating defeat to Access Copyright on Friday, releasing its decision on a tariff for copying by employees of provincial governments. Access Copyright had initially sought $15 per employee for the period from 2005 – 2009 and $24 per employee for the period from 2010 – 2014. It later reduced its demands to $5.56 and $8.45. The board conducted a detailed review of the copying within government and the applicability of the Access Copyright licence. Its final decision gives Access Copyright pennies rather than dollars: 11.56 cents for 2005-2009 and 49.71 cents for 2010-2014.

The financial loss for Access Copyright in the case is obvious as it expected to earn millions from the tariff. With roughly 120,000 full time employees covered by the tariff, Access Copyright’s initial ask would have brought in $9 million in the first five years and another $14.4 million in the second five years for a total of almost $25 million (even its reduced ask envisioned nearly $9 million in revenues). Instead, the Board estimates that the total value of the tariff for the entire period will be $370,000, which is unlikely to cover Access Copyright’s legal and administrative costs (it also does not include revenues from the Province of Ontario, which struck an incredibly bad deal in 2011 by agreeing to pay $7.50 per year per employee).

May 25, 2015 — 8 comments — News

The '67 Leafs on the Stanley Cup by Scazon (CC BY 2.0) https://flic.kr/p/5Criwf

Why the Copyright Board of Canada Needs a Leafs-Style Tear-Down

In recent weeks, there has been growing talk of the need for the Toronto Maple Leafs to engage in full scale demolition of the current roster (as a long-suffering Leaf fan, I approve). The call for an overhaul comes as fans recognize that minor tinkering has resulted in years of mediocrity and that real change requires more drastic reforms. While the Leafs and the Copyright Board of Canada operate in entirely different worlds, they share a key similarity: the desperate for a complete reset.

The problems with the Copyright Board have been well-chronicled: the industry has been unhappy with many of its decisions (see the Tariff 8 decision), its rulings on fair dealing have been firmly rejected by the Supreme Court of Canada (“flawed”, “unreasonable” and “skewed” were some of the comments), it has been forced to admit errors that resulted in procedural unfairness, its processes are flawed, its decision making takes years, and the public is largely excluded from the process. As I noted last year:

February 13, 2015 — Comments are Disabled — News

The Battle Over Tariff 8: What the Recording Industry Isn’t Saying About Canada’s Internet Streaming Royalties

Over the past month, Music Canada, the lead lobby group for the Canadian recording industry, has launched a social media campaign criticizing a recent Copyright Board of Canada decision that set some of the fees for Internet music streaming companies such as Pandora. The long-overdue decision seemingly paves the way for new online music services to enter the Canadian market, yet the industry is furious about rates it claims are among the worst in the world.

The Federal Court of Appeal will review the decision, but the industry has managed to get many musicians and music labels worked up over rates it labels 10 percent of nothing. While the Copyright Board has more than its fair share of faults, a closer examination of the Internet music streaming decision suggests that this is not one of them.

The Music Canada claim, which is supported by Re:Sound (the copyright collective that was seeking a tariff or fee for music streaming), is that the Canadian rates are only 10 percent of the equivalent rate in the United States. That has led to suggestions that decision devalues music and imperils artists’ livelihood.

My weekly technology law column (Toronto Star version, homepage version) argues the reality is far more complex.

July 29, 2014 — 6 comments — Columns

The Copyright Board of Canada Music Streaming Decision: The Good, the Bad, and the Ugly

The Copyright Board of Canada issued its long-awaited music streaming decision late last week, setting royalties to be paid by Internet music streaming services such as Pandora for non-interactive and semi-interactive streaming for the years 2009 to 2012. This covers passive Internet radio services and services that allow users to influence what they listen to. Given that Pandora left the Canadian market over high tariff rates, the outcome of the decision was destined to be a key determinant over whether many of the missing Internet music streaming services enter the Canadian market.

For fans of Pandora or similar services, the decision brings good news. The board largely rejected the arguments of Re:Sound, the collective responsible for the tariff and settled on rates close to what the Internet services were seeking. While the collective argued for rates similar to those found in the U.S., the Board ruled that the U.S. was not a suitable comparison.

Moreover, it rejected arguments that this form of music streaming cannibalizes music sales, concluding that exposure to music through non-interactive and semi-interactive streaming may increase sales:

May 21, 2014 — 4 comments — News