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3 Belmont L. Rev. 1 (2016)

handle is hein.journals/belmolre3 and id is 1 raw text is: SOCIAL MEDIA AND FLASH INFRINGEMENT: LIVE MUSIC CULTURE AND DYING IP PROTECTION PROFESSOR MICHAEL M. EPSTEIN* I. IN T R O D U C T IO N .......................................................................................... 1 II. THE LIMITS OF IP PROTECTION FOR LIVESTREAMING OF CONTENT ....... 2 III. TODAY'S USER-CONTROLLED STREAMING AND DISTRIBUTION APPS .. 4 IV. THE CONCEPT OF FLASH INFRINGEMENT. ...................................... 7 A . Spontaneity .......................................................................... . . 8 B . E phem erality ........................................................................ . . 9 C. Aggregated Distribution in a Social Networking Environment 10 V . LEGAL RAM IFICATIONS ..................................................................... 15 A . Pursuing the A pps ................................................................. 16 B . Pursuing the U ser ................................................................. 18 V I. STRUCTURAL REMEDIES .................................................................. 22 A . N o Phone Z one ................................................................... 22 B . Signal B locking ................................................................... 23 C. Use Flash Infringement to Market Band or Album ............. 24 D. Make Concertgoers Sign Adhesion Contracts ..................... 25 E. Control Distribution through Stageit or Similar Service .......... 26 V . C O N CLU SIO N ...................................................................................... 27 I. INTRODUCTION This article interrogates issues of music intellectual property rights infringement at live performances. I am especially interested in music infringement at live concerts and DJ-driven mash-up parties, and the use of technologies to transfer protected content by smartphone-or remote * Professor of Law and Director of the Amicus Project, Southwestern Law School. Supervising Editor of the Journal of International Media and Entertainment Law, published by the American Bar Association and the Donald E. Biederman Entertainment and Media Law Institute at Southwestern. The author thanks Natasha Mehlum, a Biederman Scholar at Southwestern, and Professor Robert C. Lind for assistance in the preparation of this Article.

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