WEBVTT - Section 230 Challenge; Astley Sues Over Voice Theft

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<v Speaker 1>This is Bloomberg Law, with June Brussel from Bloomberg Radio

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<v Speaker 1>in two oral arguments this week the Supreme Court struggle

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<v Speaker 1>to determine when social media companies can be held responsible

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<v Speaker 1>for aiding terrorism At risk was section two thirty of

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<v Speaker 1>the Communications Decency Act, the controversial law that protects online

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<v Speaker 1>companies from being sued over the comments, ads, pictures, and

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<v Speaker 1>videos on their platforms. Congress has been unsuccessful in efforts

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<v Speaker 1>to reform section to thirty, and the Supreme Court is

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<v Speaker 1>being asked to step into the controversy and change the

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<v Speaker 1>status quo, something most of the justices seemed reluctant to do.

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<v Speaker 1>Here are Justices Elena Kagan and Brett Kavanaugh. I mean,

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<v Speaker 1>we're a court. We really don't know about these things.

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<v Speaker 1>You know, these are not like the nine greatest experts

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<v Speaker 1>on the internet. Congress draft today broad text, and that

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<v Speaker 1>text has been unanimously read by courts of appeals over

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<v Speaker 1>the years to provide protection in this sort of situation,

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<v Speaker 1>and that you now want to challenge that consensus. In

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<v Speaker 1>the first case argued on Wednesday, the family of a

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<v Speaker 1>US citizen killed by Islamic State in a twenty fifteen

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<v Speaker 1>Paris Attack argued that Google should be held liable for

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<v Speaker 1>software algorithms that recommended terrorist videos to YouTube users, but

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<v Speaker 1>in the first question, Justice Clarence Thomas suggested that companies

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<v Speaker 1>can't be sued if their recommendation algorithms are neutral about

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<v Speaker 1>the kind of content they promote. The same algorithm to

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<v Speaker 1>present cooking videos to people who are interested in cooking,

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<v Speaker 1>and isis videos to people who are interested in isis

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<v Speaker 1>racing videos, So people who are interested in racing. Then

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<v Speaker 1>I think you're going to have to explain more clearly

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<v Speaker 1>if it's neutral in that way, how your claim is set.

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<v Speaker 1>Apart from that. Joining me is Eric Goleman, a professor

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<v Speaker 1>at Santa Clara University School of Law and co director

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<v Speaker 1>of the High Tech Law Institute. Before the Oral arguments

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<v Speaker 1>this week, there was a lot of gloom and doom

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<v Speaker 1>concerns about the future of Section two thirty. Do you

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<v Speaker 1>think the cases sort of fizzled out and the concerns

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<v Speaker 1>are not as great anymore. I was certainly one of

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<v Speaker 1>the people who was spreading doom and gloom. I was

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<v Speaker 1>and remained fearful about the future of the Internet. I

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<v Speaker 1>do think that the oral arguments exposed just how weak

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<v Speaker 1>the cases are, that at the core they aren't meritorious,

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<v Speaker 1>and they never were. And to be clear, lots of

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<v Speaker 1>other courts that said that. It was only the Ninth

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<v Speaker 1>Circuit that opened up the door to these cases that

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<v Speaker 1>all the other judges had shut down. And I think

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<v Speaker 1>that the justice is we're more on the side of

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<v Speaker 1>the judges who had rejected these cases in the beginning

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<v Speaker 1>than the end. So I think that seeing how weak

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<v Speaker 1>the cases are gives us some comfort that the justices

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<v Speaker 1>are going to reach a good conclusion. However, they're going

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<v Speaker 1>to do so in a way that I still fear

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<v Speaker 1>is going to be in strategic loss for the Internet.

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<v Speaker 1>Before we get to that, let's discuss the plaintiff targeting

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<v Speaker 1>the algorithms used by YouTube. The first question from Clarence

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<v Speaker 1>Thomas was that the algorithm is neutral, so you know,

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<v Speaker 1>show us your case here. Well, they definitely got the

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<v Speaker 1>point that the plaintiffs are trying to ask social media

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<v Speaker 1>services to perhaps be something that they're not, and that

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<v Speaker 1>troubled them and that gave them some pause. They recognize

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<v Speaker 1>both the speech implications of changing the social media services algorithms,

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<v Speaker 1>and they also recognize the potential economic consequences, that there's

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<v Speaker 1>a lot of businesses that are built on the premise

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<v Speaker 1>that they can decide what's fit for their audience or not.

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<v Speaker 1>So I think that the Justices recognized the big strategic

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<v Speaker 1>issues in the case, and it was great to hear

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<v Speaker 1>Justice Thomas bring that up as the very first question.

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<v Speaker 1>It's set the tone for the rest of their arguments

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<v Speaker 1>that we need the plaintifts to be very specific why

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<v Speaker 1>they think liabilities should be post here and in the

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<v Speaker 1>Gonzales case, I honestly think they never met that challenge.

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<v Speaker 1>Across the ideological spectrum. They seem to have problems with

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<v Speaker 1>the plaintiffs arguments, even saying, you know, I'm confused. I'm

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<v Speaker 1>so confused. Several the Justices said that it should be

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<v Speaker 1>Congress who changes Section two thirty. So I'm wondering why

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<v Speaker 1>they even took the case. It's a great question and

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<v Speaker 1>one that has vexed me and I think many others

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<v Speaker 1>from the moment that Supreme Court agreed to hear it.

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<v Speaker 1>This wasn't the right case for the Supreme Court to

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<v Speaker 1>take to understand Section two thirty. I felt that was

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<v Speaker 1>obvious even from the request to the Supreme court to

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<v Speaker 1>hear it, and I have to feel like whoever voted

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<v Speaker 1>in favor of hearing these cases kind of regretted it

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<v Speaker 1>that they thought the cases were going to be a

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<v Speaker 1>better vehicle for judicial analysis than they ended up being.

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<v Speaker 1>So I don't exactly know why they took the cases.

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<v Speaker 1>That was always a mystery, and I think that that

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<v Speaker 1>got exposed during the oral arguments that this was not

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<v Speaker 1>the right case for the court to really dig into

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<v Speaker 1>some hard questions. Give us some background on these cases.

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<v Speaker 1>These two cases were part of actually a larger litigation

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<v Speaker 1>enterprise that was initiated. It was about twenty lasses filed

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<v Speaker 1>across the country on behalf of victims of terrorist attacks,

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<v Speaker 1>all claiming that social media services should be held accountable

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<v Speaker 1>for their role in those terrorist attacks. Those lawsuits have

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<v Speaker 1>uniformly failed across the country except for the one exception

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<v Speaker 1>in the Ninth Circuit that led to this appeal. And

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<v Speaker 1>it's so heartbreaking because on the one hand, everyone is

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<v Speaker 1>sympathetic to the victims. All of them want to see

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<v Speaker 1>justice for the victims and efforts taken to curb terrorism.

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<v Speaker 1>But it was so fortunate that they chose these defendants.

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<v Speaker 1>These are not the right defendants. This is not the

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<v Speaker 1>right way to curb terrorism or to provide justice for

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<v Speaker 1>the victims of terrorist attacks. And so the courts have

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<v Speaker 1>been clear about that the plaintiffs reach too far in

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<v Speaker 1>the list of possible defendants, and I felt like that

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<v Speaker 1>message really came through at the Supreme Court. They understood

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<v Speaker 1>that there are trade offs that need to be made

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<v Speaker 1>in any decision about speech policy online, and that they're

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<v Speaker 1>not the right ones to make that decision congresses, and

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<v Speaker 1>that if they overweight the concerns and the victims here,

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<v Speaker 1>they're going to create other problems for people who are

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<v Speaker 1>not in court, and those people also have interests and

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<v Speaker 1>need to be considered. So you said that even if

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<v Speaker 1>the justices dismissed the plaintiff's claims here, you're worried about

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<v Speaker 1>how they come to that decision. Yeah, I am. So.

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<v Speaker 1>The court usually will write an opinion that says, here's

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<v Speaker 1>who wins, and here's why they win. And in a

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<v Speaker 1>clean opinion, they will say, in very few words, these

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<v Speaker 1>are the elements of the test. The plaintiffs are the

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<v Speaker 1>defense method right elements that resolves the case over. But

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<v Speaker 1>the more modern trend in the Supreme Court has been

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<v Speaker 1>to say more than they have to, and they start

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<v Speaker 1>musing or speculating or caveating their statements. So it would

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<v Speaker 1>be easy for them to say something like Google wins

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<v Speaker 1>because of Section two thirty, and if they stop right there,

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<v Speaker 1>that could actually be an okay opinion. But what they're

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<v Speaker 1>likely to do is then say, because of the following facts,

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<v Speaker 1>and if those facts were different, we might reach a

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<v Speaker 1>different outcome. Well, as you can imagine, every single plaintiff

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<v Speaker 1>is going to pick up on the caveat and say, well,

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<v Speaker 1>I think I can make a claim where I can

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<v Speaker 1>allege the facts that they said might make a difference.

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<v Speaker 1>And so we're going to just initiate this huge ground

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<v Speaker 1>swell of new litigation to explore any caveat or qualification

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<v Speaker 1>of the Supreme Court puts in. And I don't think

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<v Speaker 1>they can help themselves to do that. Let's talk about

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<v Speaker 1>the Twitter case for a moment. That was not about

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<v Speaker 1>Section two thirty. That was about the boundaries of the

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<v Speaker 1>federal anti terrorism law. You heard a lot about aiding

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<v Speaker 1>and abetting, as you did in the Google case. Correct,

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<v Speaker 1>And just to be clear, so the Gonzals case involves

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<v Speaker 1>Section two thirty, which is a defense immunity from liability

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<v Speaker 1>that covers a wide range of potential claims. The Twitter

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<v Speaker 1>case only evolved the Anti Terrorism Act one of the

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<v Speaker 1>many possible claims I might be covered by Section two thirty.

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<v Speaker 1>That's why there's been so much interest in the Gonzales

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<v Speaker 1>case over the Twitter case, because of the fact that

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<v Speaker 1>the Gonzals case could change the law across hundreds or

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<v Speaker 1>thousands of other laws. Now in the Anti Terrorism Act,

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<v Speaker 1>the question is what constitutes aiding and abetting a terrorist organization,

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<v Speaker 1>and that kind of inquiries exactly the kind of thing

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<v Speaker 1>that section two thirty has mooted. In the past, plaintiffs

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<v Speaker 1>have alleged that they could get around Section two thirty

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<v Speaker 1>in other legal doctrines by saying, I'm not suing them

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<v Speaker 1>because they were the bad actor. I'm suing them because

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<v Speaker 1>they helped the bad actor. And Section two thirty simply

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<v Speaker 1>says you can't do that. So we haven't seen the

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<v Speaker 1>kind of cases like the oral arguments we heard in

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<v Speaker 1>the Twitter case because of the fact that Section two

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<v Speaker 1>thirty has made those inquiries moot. So every plaintiff can

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<v Speaker 1>allege that social media or other websites help some bad actor.

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<v Speaker 1>That's the whole nature of talking to each other online,

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<v Speaker 1>and section two there has taken away. When we open

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<v Speaker 1>up that door and look at it like we did

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<v Speaker 1>with a Twitter case, the justices don't know what to do.

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<v Speaker 1>That's just judicial anarchy. Eric. So section two thirty is

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<v Speaker 1>a defense that Google raised in the Gonzales case on Tuesday.

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<v Speaker 1>Why didn't Twitter raise it in the case on Wednesday?

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<v Speaker 1>So my understand is that the court shows to decide

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<v Speaker 1>the case on the Anti Terrorism Act grounds only, which

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<v Speaker 1>is of course prerogatives. They don't have to rule on

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<v Speaker 1>every single basis on which the plaintiff might lose. And

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<v Speaker 1>so my understanding is that section two therey could in

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<v Speaker 1>fact be playing in the case if the case is

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<v Speaker 1>still open. It's just that the judge put the Anti

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<v Speaker 1>Terrorism Act in quired first. So in the Twitter case,

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<v Speaker 1>there were lots of hypotheticals. Banks and restaurants that serve terrorists,

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<v Speaker 1>people give guns to known criminals, and Justice Alito said,

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<v Speaker 1>let's say j Edgar Hoover tells Bell Telephone Company that

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<v Speaker 1>Dutch Schulz is a gangster and he's using his phone

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<v Speaker 1>to carry out mob activities. The phone company says, we

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<v Speaker 1>don't deprive people of service based on that that makes

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<v Speaker 1>him an aider and a better he was expecting. I

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<v Speaker 1>think a different response from the lawyer. The aidan embedding

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<v Speaker 1>question is just a morass of confusion and ambiguity. And

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<v Speaker 1>in particular, I didn't love the hypotheticals where law enforcement

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<v Speaker 1>is telling a service that one of their customers is

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<v Speaker 1>doing illegal activity, because as we know, law enforcement isn't

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<v Speaker 1>always credible on that front, and sometimes they can use

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<v Speaker 1>or weaponize their status to achieve things that the law

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<v Speaker 1>wouldn't otherwise permit them. And while that happens sometime in

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<v Speaker 1>the US, that happens all the time in some other countries,

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<v Speaker 1>and so cheating the government source as an authoritative provider

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<v Speaker 1>of identifying a criminal or a terrorist or a bad

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<v Speaker 1>actor is actually just a road to ruin. And so

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<v Speaker 1>I think the correct answer should be that we can't

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<v Speaker 1>rely on the government's claims alone. However, if the court

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<v Speaker 1>has adjudicated that someone is a criminal or terrorist, maybe

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<v Speaker 1>we would feel differently. Did the more liberal justices seem

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<v Speaker 1>to be more open to the idea that Twitter should

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<v Speaker 1>bear some responsibility for indirectly supporting ISIS. I didn't get

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<v Speaker 1>a clear partisan divide on any of the oral arguments.

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<v Speaker 1>It really did seem that each justice was in their

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<v Speaker 1>own space. And so I think that a lot of

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<v Speaker 1>the speech related cases, basically put the partisan alignments in

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<v Speaker 1>a blender, are a lot of conflicting considerations pointing in

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<v Speaker 1>different directions. So I didn't see the partisan divide obviously.

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<v Speaker 1>Could the justices use the Twitter case as a potential

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<v Speaker 1>off ramp to sidestep any tricky Section two thirty issues?

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<v Speaker 1>Justice Amy Coney Barrett suggested that in the Google arguments

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<v Speaker 1>on Tuesday. So they're both relying on the same aiding

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<v Speaker 1>and ebtting theory. So if you lose tomorrow, do we

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<v Speaker 1>even have to reach the Section two thirty question here?

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<v Speaker 1>Would you can see that you would lose on that

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<v Speaker 1>ground here? So if the Supreme Court decides that social

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<v Speaker 1>media companies can't be held responsible for aiding and abetting

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<v Speaker 1>terrorism in the Twitter case, the justices could up not

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<v Speaker 1>to decide whether Section to thirty protects the online companies

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<v Speaker 1>from those claims. Yeah, that is a possibility for the

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<v Speaker 1>Court to decide that the decision and Twitter could affect

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<v Speaker 1>the decision in the Gozzals case. I don't know if

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<v Speaker 1>they want to do that. They've geared up to hear

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<v Speaker 1>the cases and do all the analysis, and then they

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<v Speaker 1>would be basically putting all that work into the garbage.

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<v Speaker 1>So I would be surprised if they want to go

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<v Speaker 1>that route. But on the other hand, I could see

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<v Speaker 1>why they would choose through that because in the end,

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<v Speaker 1>they know that whatever they say about sexually too there

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<v Speaker 1>is going to have huge consequences, and if they feel

0:13:19.559 --> 0:13:22.040
<v Speaker 1>like they're not ready to pine upon it, they do

0:13:22.160 --> 0:13:25.360
<v Speaker 1>have that potential eggs around. So listening to the arguments,

0:13:25.400 --> 0:13:28.160
<v Speaker 1>your best guess is that the justices are going to

0:13:28.240 --> 0:13:32.080
<v Speaker 1>rule against both the plaintiffs. No, I don't really have

0:13:32.120 --> 0:13:34.959
<v Speaker 1>a prediction about the Twitter case. It was just too

0:13:35.000 --> 0:13:39.199
<v Speaker 1>confusing to see where all the justices stood, and I

0:13:39.640 --> 0:13:42.640
<v Speaker 1>don't have a prediction. And especially in cases like that

0:13:42.679 --> 0:13:45.439
<v Speaker 1>where they're trying to figure out what is the culpable

0:13:45.600 --> 0:13:50.199
<v Speaker 1>mental state of a defendant, there's so many considerations that

0:13:50.720 --> 0:13:54.199
<v Speaker 1>I don't know that the oral argument questions really preview

0:13:54.200 --> 0:13:58.520
<v Speaker 1>where the justices stand. They may be stress testing alternative arguments,

0:13:58.559 --> 0:14:01.960
<v Speaker 1>they may be making statements to their peers, they may

0:14:02.000 --> 0:14:03.920
<v Speaker 1>be trying to figure out how they're going to keep

0:14:03.920 --> 0:14:07.440
<v Speaker 1>a coherent line the next time the coupable mental state

0:14:07.480 --> 0:14:10.160
<v Speaker 1>issue comes up. Because it comes up all the time

0:14:10.200 --> 0:14:12.600
<v Speaker 1>in the Supreme Court, that's like a standard issue for

0:14:12.600 --> 0:14:14.000
<v Speaker 1>them to deal with, and they want to try and

0:14:14.040 --> 0:14:17.160
<v Speaker 1>be coherent. I do think that Google is likely to

0:14:17.160 --> 0:14:19.600
<v Speaker 1>prevail on the Gonzales case. I just did not hear

0:14:19.920 --> 0:14:24.280
<v Speaker 1>enough support for the plaintiff's arguments. But even in that case,

0:14:24.320 --> 0:14:27.120
<v Speaker 1>depending on how the court phrases opinion, I still am

0:14:27.160 --> 0:14:29.920
<v Speaker 1>not sure that Google will get a net strategic win.

0:14:30.320 --> 0:14:32.880
<v Speaker 1>They might get the votes, but the opinion might take

0:14:32.880 --> 0:14:36.320
<v Speaker 1>it all back. And just to be clear, these cases

0:14:36.360 --> 0:14:38.960
<v Speaker 1>are just about whether or not the suits can go forward.

0:14:39.360 --> 0:14:41.880
<v Speaker 1>So even if the court, let's say said okay, the

0:14:41.880 --> 0:14:44.480
<v Speaker 1>Twitter suit can go forward, that would still have to

0:14:44.520 --> 0:14:46.440
<v Speaker 1>go to trial and they would still have to prove

0:14:46.560 --> 0:14:51.160
<v Speaker 1>that yes. But that actually sidesteps one of the primary

0:14:51.240 --> 0:14:54.480
<v Speaker 1>battles taking place in these cases, whether a judge can

0:14:54.560 --> 0:14:57.520
<v Speaker 1>provide the early off ramp that Section two thirty is

0:14:57.560 --> 0:15:00.480
<v Speaker 1>best known for, or if they have to spend more

0:15:00.520 --> 0:15:04.280
<v Speaker 1>money to persuade a judge that they should prevail, and

0:15:04.320 --> 0:15:07.920
<v Speaker 1>so having to defend a case in court over the

0:15:07.960 --> 0:15:12.400
<v Speaker 1>course of the standard litigation process is a strategic loss

0:15:12.640 --> 0:15:16.080
<v Speaker 1>in many circumstances for defendants, they simply don't want to

0:15:16.120 --> 0:15:18.600
<v Speaker 1>spend the time or money that way, and they'll do

0:15:18.680 --> 0:15:22.200
<v Speaker 1>a lot to avoid having to do that. So even

0:15:22.240 --> 0:15:25.320
<v Speaker 1>if Google or Twitter could prevail at some later stage

0:15:25.320 --> 0:15:28.880
<v Speaker 1>in the case, if they can't prevail early, it might

0:15:28.960 --> 0:15:31.920
<v Speaker 1>not matter. They might it might change their decision making

0:15:32.360 --> 0:15:34.800
<v Speaker 1>just having to defend the case that far. Thanks so

0:15:34.880 --> 0:15:38.400
<v Speaker 1>much for those insights, Eric, that's Professor Eric Goleman of

0:15:38.440 --> 0:16:00.720
<v Speaker 1>the Santa Clara University School of Law. Never Gonna Give

0:16:00.760 --> 0:16:03.320
<v Speaker 1>You Up was not only a huge hit for Rick

0:16:03.360 --> 0:16:07.480
<v Speaker 1>Astley in nineteen eighty seven, its popularity has been revived

0:16:07.560 --> 0:16:11.000
<v Speaker 1>with the Rick Roll Internet memes. So it's no surprise

0:16:11.080 --> 0:16:14.000
<v Speaker 1>that rapper Young Gravy used part of that song in

0:16:14.080 --> 0:16:28.880
<v Speaker 1>his twenty twenty two breakout hit Betty Get Money. Did

0:16:28.920 --> 0:16:31.280
<v Speaker 1>that sound to you like it was Rick Astley who

0:16:31.360 --> 0:16:34.920
<v Speaker 1>was singing well. Astley says it's a deliberate and nearly

0:16:35.120 --> 0:16:39.400
<v Speaker 1>indistinguishable imitation of his voice, and he's suing Young Gravy

0:16:39.600 --> 0:16:43.800
<v Speaker 1>for stealing his voice. Joining me as intellectual property litigator

0:16:44.000 --> 0:16:47.840
<v Speaker 1>Terrence Ross, a partner at Captain Yuchen Rosenman. So Terry

0:16:48.200 --> 0:16:51.720
<v Speaker 1>Young Gravy, whose real name is Matthew Warie, did get

0:16:51.760 --> 0:16:55.080
<v Speaker 1>the rights to use the music and lyrics from Never

0:16:55.120 --> 0:16:57.520
<v Speaker 1>Going to Give You Up? So what's the problem here.

0:16:58.080 --> 0:17:01.560
<v Speaker 1>So the problem with the egal approach Young Gravy or

0:17:01.600 --> 0:17:05.280
<v Speaker 1>his lawyers took is that they obtained what is known

0:17:05.320 --> 0:17:09.040
<v Speaker 1>as a mechanical rights license, which is a license with

0:17:09.160 --> 0:17:13.240
<v Speaker 1>respect to the copyright in the music and the lyrics.

0:17:13.600 --> 0:17:17.880
<v Speaker 1>What they did not do was obtain a master license,

0:17:18.160 --> 0:17:22.560
<v Speaker 1>which is a license to the copyright in the actual

0:17:22.760 --> 0:17:26.480
<v Speaker 1>recording of the song. So they were licensed up to

0:17:26.600 --> 0:17:29.960
<v Speaker 1>go out and do a cover using the music and

0:17:30.080 --> 0:17:34.160
<v Speaker 1>lyrics of the nineteen eighty seventh song, but they were

0:17:34.200 --> 0:17:38.720
<v Speaker 1>not licensed to actually play the nineteen eighty seven recording.

0:17:39.280 --> 0:17:44.360
<v Speaker 1>And the mistake, arguably made by Young Gravy is to

0:17:44.560 --> 0:17:50.520
<v Speaker 1>set out to purposefully imitate the voice of Rick Astley

0:17:50.840 --> 0:17:54.040
<v Speaker 1>from the song Never Going to Give You Up? And

0:17:54.400 --> 0:17:57.399
<v Speaker 1>that is what this lawsuit is all about, not about

0:17:57.440 --> 0:18:00.560
<v Speaker 1>the copyrights, but about what cal point is known as

0:18:00.560 --> 0:18:04.520
<v Speaker 1>a violational right of publicity for using somebody else's identity.

0:18:04.760 --> 0:18:07.280
<v Speaker 1>Have you heard this kind of you stole my voice

0:18:07.560 --> 0:18:10.720
<v Speaker 1>claim before believe it? Or not June. This is not

0:18:10.880 --> 0:18:14.679
<v Speaker 1>an unusual cause of action in the courts. There are

0:18:14.680 --> 0:18:18.640
<v Speaker 1>at least two cases I know of in the Ninth Circuit.

0:18:18.760 --> 0:18:22.720
<v Speaker 1>There's a nineteen eighty eight case by Bette Midler. There's

0:18:22.720 --> 0:18:25.840
<v Speaker 1>a nineteen ninety two case by Tom Waits. Going back

0:18:25.920 --> 0:18:31.480
<v Speaker 1>further in time, Nancy Sinatra sued Goodyear in nineteen seventy

0:18:31.520 --> 0:18:35.080
<v Speaker 1>over her these boots are made for walking song, And

0:18:35.280 --> 0:18:38.240
<v Speaker 1>even further back in time, nineteen sixty two. Bert Lair,

0:18:38.480 --> 0:18:42.000
<v Speaker 1>the actor who portrayed the Cowardly Lion and the Wizard

0:18:42.000 --> 0:18:44.680
<v Speaker 1>of Oz and did a lot of other great acting work,

0:18:44.960 --> 0:18:47.960
<v Speaker 1>sued for the use of his voice back in nineteen

0:18:48.000 --> 0:18:50.320
<v Speaker 1>sixty two. So, believe it or not, this is not

0:18:50.359 --> 0:18:53.320
<v Speaker 1>the first time someone has dreamed up a cause of

0:18:53.359 --> 0:18:58.239
<v Speaker 1>action relating to the imitation of someone else's voice. I

0:18:58.280 --> 0:19:01.639
<v Speaker 1>wonder if young Gravy knew what the limits of the

0:19:01.760 --> 0:19:05.760
<v Speaker 1>rights he had purchased, because he said, at one point

0:19:05.880 --> 0:19:08.720
<v Speaker 1>we had a different singer and instruments, but it was

0:19:08.800 --> 0:19:12.600
<v Speaker 1>all really close because it makes it easier legally. So

0:19:13.200 --> 0:19:16.080
<v Speaker 1>I don't know what advice he got from his lawyers.

0:19:16.520 --> 0:19:19.240
<v Speaker 1>I don't even know to what extent that he consulted

0:19:19.320 --> 0:19:22.720
<v Speaker 1>his lawyers. The problem practiced lawyers like myself face in

0:19:22.720 --> 0:19:26.800
<v Speaker 1>this area with artists that often they don't explain the

0:19:27.040 --> 0:19:30.280
<v Speaker 1>entirety of the project that they're setting out upon. They

0:19:30.320 --> 0:19:32.640
<v Speaker 1>will say, oh, I want to do a cover of

0:19:33.000 --> 0:19:35.480
<v Speaker 1>Rick Astley's song never going to give you Up, but

0:19:35.560 --> 0:19:38.000
<v Speaker 1>don't give you any other information. So I'm not in

0:19:38.000 --> 0:19:41.200
<v Speaker 1>a position to criticize the lawyers or to even criticize

0:19:41.240 --> 0:19:43.800
<v Speaker 1>Young Gravy here. The problem with a project like this

0:19:43.920 --> 0:19:46.719
<v Speaker 1>is both the lawyers and the artists and the producers

0:19:46.880 --> 0:19:51.359
<v Speaker 1>have to sit down and really explore all the possible outcomes.

0:19:51.400 --> 0:19:54.400
<v Speaker 1>And it doesn't seem like that happened here. So does

0:19:54.520 --> 0:19:58.880
<v Speaker 1>Astley have a good case? So, June, We've talked enough

0:19:58.920 --> 0:20:02.880
<v Speaker 1>about different laws see Seed, that I'm reluctant to ever

0:20:03.040 --> 0:20:07.199
<v Speaker 1>say one party score win or lose, or give odds.

0:20:07.480 --> 0:20:11.480
<v Speaker 1>I'm reminded of the famous episode back during the Apollo

0:20:11.520 --> 0:20:15.600
<v Speaker 1>program when Apollo thirteen had its disastrous incident and was

0:20:15.640 --> 0:20:19.119
<v Speaker 1>on the way back to Earth and President Nixon called

0:20:19.280 --> 0:20:22.320
<v Speaker 1>the flight director and asked him, one are the chances

0:20:22.359 --> 0:20:25.240
<v Speaker 1>of these guys getting back alive and demanded that he

0:20:25.280 --> 0:20:28.040
<v Speaker 1>actually put odds on it. You just can't do that

0:20:28.119 --> 0:20:31.640
<v Speaker 1>either in space missions or lossess. And so I'm going

0:20:31.680 --> 0:20:33.920
<v Speaker 1>to refrain from giving you some sort of a set

0:20:33.920 --> 0:20:36.400
<v Speaker 1>of odds here. Maybe Las Vegas can do that for you.

0:20:36.560 --> 0:20:39.240
<v Speaker 1>But I will say this, on its face, this is

0:20:39.240 --> 0:20:43.399
<v Speaker 1>a colorable claim that Rick Astley has brought. On the

0:20:43.400 --> 0:20:46.480
<v Speaker 1>other side of the ledger, there are some strong defenses

0:20:46.560 --> 0:20:50.000
<v Speaker 1>to be made here by Young Gravy, and so to

0:20:50.040 --> 0:20:53.240
<v Speaker 1>a certain extent, this will be an interesting case to

0:20:53.400 --> 0:20:56.840
<v Speaker 1>follow to see how the court works out both a

0:20:56.880 --> 0:21:00.720
<v Speaker 1>strong and interesting cause of action versus some pretty strong defenses.

0:21:01.040 --> 0:21:04.120
<v Speaker 1>So let's talk about some of the defenses that Young

0:21:04.160 --> 0:21:07.359
<v Speaker 1>Gravy may have fair use, which we've discussed a lot.

0:21:07.800 --> 0:21:11.600
<v Speaker 1>So a couple of years ago, the Supreme Court of California,

0:21:11.640 --> 0:21:14.800
<v Speaker 1>and remember this lawsuit is brought in the California state

0:21:14.880 --> 0:21:17.840
<v Speaker 1>court system. It's not a federal lawsuit, and so the

0:21:18.200 --> 0:21:21.560
<v Speaker 1>decisions from the California Supreme Court apply. And back in

0:21:21.600 --> 0:21:25.080
<v Speaker 1>two thousand and one, the California Supreme Court, in a

0:21:25.160 --> 0:21:28.359
<v Speaker 1>case that involved the same sort of right of publicity claim,

0:21:28.560 --> 0:21:33.639
<v Speaker 1>incorporate it into California state law. Right of publicity a

0:21:33.920 --> 0:21:39.960
<v Speaker 1>transformative use defense, which it stole out of the copyright cases.

0:21:40.520 --> 0:21:44.399
<v Speaker 1>And transformative use is an element of a fair use defense,

0:21:44.440 --> 0:21:47.159
<v Speaker 1>but it's not the complete fair used defense, and the

0:21:47.240 --> 0:21:49.720
<v Speaker 1>Supreme Court California soft it just to pull out this

0:21:49.920 --> 0:21:53.520
<v Speaker 1>one part of the copyright fair used defense, the transformative

0:21:53.640 --> 0:21:57.080
<v Speaker 1>use element, and that is available to Young Gravy here

0:21:57.440 --> 0:22:00.600
<v Speaker 1>in this lawsuit. The problem might have with that defense

0:22:00.760 --> 0:22:05.600
<v Speaker 1>is not quite sure how the song that Young Gravy

0:22:05.760 --> 0:22:12.760
<v Speaker 1>did Betty Get Money transforms the Rick Astley song Never

0:22:12.800 --> 0:22:15.159
<v Speaker 1>Going to Give You Up. I don't consider it to

0:22:15.240 --> 0:22:19.760
<v Speaker 1>be a parody. Indeed, Young Gravy said a number of

0:22:19.800 --> 0:22:23.280
<v Speaker 1>things prior to the lawsuit in which he praised the

0:22:23.359 --> 0:22:28.080
<v Speaker 1>song and referred to as being think iconic or just famous,

0:22:28.119 --> 0:22:32.000
<v Speaker 1>and generally was positive about it. Whereas a parody is

0:22:32.000 --> 0:22:35.520
<v Speaker 1>a criticism. It makes fun of a work by way

0:22:35.600 --> 0:22:39.160
<v Speaker 1>of criticizing it, typically to make some sort of social commentary.

0:22:39.240 --> 0:22:41.479
<v Speaker 1>And I don't think that's what's going on here. And

0:22:41.520 --> 0:22:44.800
<v Speaker 1>so that's going to be a challenging defense for Young

0:22:44.840 --> 0:22:48.800
<v Speaker 1>Gravy to make in this lawsuit. So what defenses might

0:22:48.840 --> 0:22:53.240
<v Speaker 1>he have? So amongst the other defenses are just a

0:22:53.359 --> 0:22:57.000
<v Speaker 1>straight up sort of First Amendment freedom of speech defense.

0:22:57.359 --> 0:23:01.800
<v Speaker 1>The Ninth Circuit has said, if use has some sort

0:23:01.800 --> 0:23:07.840
<v Speaker 1>of informative or cultural usefulness, then it's immune from this

0:23:07.920 --> 0:23:12.720
<v Speaker 1>sort of state court challenge. Not sure that the informative

0:23:12.760 --> 0:23:15.400
<v Speaker 1>prong has anything to do with it, but I think

0:23:15.440 --> 0:23:18.959
<v Speaker 1>an argument could be made that they're using this in

0:23:19.080 --> 0:23:22.840
<v Speaker 1>purely an entertainment manner, So they're not trying to sell

0:23:22.960 --> 0:23:27.520
<v Speaker 1>a product using Rick Astley saw. They're simply trying to

0:23:27.640 --> 0:23:30.640
<v Speaker 1>entertain the public. And this is a really important distinction

0:23:30.720 --> 0:23:34.119
<v Speaker 1>here because in the Bette Midler case, Ford Motor Company

0:23:34.160 --> 0:23:38.080
<v Speaker 1>had used a person imitating her voice to sell Forward cars,

0:23:38.119 --> 0:23:41.679
<v Speaker 1>and she brought a lawsuit and claimed that they couldn't

0:23:41.680 --> 0:23:43.760
<v Speaker 1>do that, that it was a violation of her right

0:23:43.800 --> 0:23:47.360
<v Speaker 1>of publicity, and the Ninth Circuit said, yeah, she's right.

0:23:47.800 --> 0:23:50.200
<v Speaker 1>They are trying to sell a product, a motor car,

0:23:50.680 --> 0:23:55.960
<v Speaker 1>using her iconic and recognizable voice. And so here this

0:23:56.040 --> 0:23:59.840
<v Speaker 1>is not being used by young gravy in the sense

0:24:00.119 --> 0:24:03.880
<v Speaker 1>of trying to sell a product, whether it's entertainment. Most

0:24:03.920 --> 0:24:07.760
<v Speaker 1>of the successful right of publicity cases come in the

0:24:07.800 --> 0:24:11.000
<v Speaker 1>context of advertising, whether it be a commercial on television

0:24:11.040 --> 0:24:13.600
<v Speaker 1>or radio or a print ad of some sort, and

0:24:13.680 --> 0:24:16.479
<v Speaker 1>it's typically advertising trying to sell a product or service,

0:24:16.600 --> 0:24:19.560
<v Speaker 1>and this is a song, and so I think that

0:24:19.600 --> 0:24:23.040
<v Speaker 1>there is an argument to be made by Young Gravy

0:24:23.080 --> 0:24:27.880
<v Speaker 1>that the First Amendment protects him in this context. Are

0:24:27.920 --> 0:24:33.120
<v Speaker 1>the circuit courts united on these issues, so they've been

0:24:33.680 --> 0:24:37.520
<v Speaker 1>very little of this sort of lawsuit outside of the

0:24:37.640 --> 0:24:40.320
<v Speaker 1>Ninth Circuit, So it is it's hard to explain or

0:24:40.359 --> 0:24:43.040
<v Speaker 1>discuss whether or not there's some sort of difference amongst

0:24:43.119 --> 0:24:45.880
<v Speaker 1>circuit courds. Now in the Second Circuit, I think they

0:24:45.880 --> 0:24:49.280
<v Speaker 1>would just instinctively jump to the Rogers v. Gravaldi test,

0:24:49.400 --> 0:24:53.639
<v Speaker 1>which we've talked about before, which provides protection to use

0:24:53.680 --> 0:24:57.480
<v Speaker 1>to somebody else's trademark in connection with expressive works. I'm

0:24:57.520 --> 0:24:59.800
<v Speaker 1>not sure that that would apply here. I mean, young

0:25:00.000 --> 0:25:02.679
<v Speaker 1>Baby may well make that defense, but this is not

0:25:02.760 --> 0:25:07.040
<v Speaker 1>that classic use of a trademark. And in particularly, the

0:25:07.200 --> 0:25:12.520
<v Speaker 1>Ninth Circuit has distinguished these voice imitation cases from copyright

0:25:12.600 --> 0:25:16.000
<v Speaker 1>and trademark. They've said things along the lines of your

0:25:16.119 --> 0:25:19.879
<v Speaker 1>voice is part of your identity. It's like your name,

0:25:20.480 --> 0:25:24.639
<v Speaker 1>it's like your persona, and when somebody else takes it,

0:25:24.640 --> 0:25:28.600
<v Speaker 1>it's not the same as taking authorship of work or

0:25:28.640 --> 0:25:32.720
<v Speaker 1>a trademark. It is something that is so uniquely personal

0:25:32.840 --> 0:25:36.760
<v Speaker 1>that it deserves and receives a common law special protection

0:25:36.880 --> 0:25:39.600
<v Speaker 1>in the form of the sport called a rite of publicity.

0:25:39.720 --> 0:25:43.240
<v Speaker 1>So I'm not sure that the Rogers v. Grimaldi test

0:25:43.840 --> 0:25:47.680
<v Speaker 1>would apply here, although you might see it get made. Indeed,

0:25:47.720 --> 0:25:51.600
<v Speaker 1>I think the traditional trademark sort of defense is nominative

0:25:51.640 --> 0:25:56.719
<v Speaker 1>fair use for example, are unlikely to apply because the

0:25:56.840 --> 0:26:00.440
<v Speaker 1>Ninth Circuit at least has said writes a publicity cases,

0:26:00.600 --> 0:26:05.800
<v Speaker 1>whether it's name, likeness, image, voice, they're all unique to

0:26:05.880 --> 0:26:09.720
<v Speaker 1>that individual's identity, and therefore they stand separate and apart

0:26:09.760 --> 0:26:12.879
<v Speaker 1>from the various federal causes of action. Terry doesn't matter

0:26:13.240 --> 0:26:18.080
<v Speaker 1>how much this clip sounds like Rick Astley. I think

0:26:18.119 --> 0:26:22.320
<v Speaker 1>it does. And I played the video of the song,

0:26:23.000 --> 0:26:26.480
<v Speaker 1>which may be slightly different than the actual song of

0:26:26.600 --> 0:26:30.480
<v Speaker 1>the recording, but I played it, and I had trouble

0:26:31.000 --> 0:26:37.199
<v Speaker 1>associating the alleged imitation of Rick Astley's voice with his

0:26:37.359 --> 0:26:41.200
<v Speaker 1>actual original song never Gonna Give You Up. I just

0:26:41.760 --> 0:26:45.000
<v Speaker 1>didn't see it. Now that may be me, maybe my

0:26:45.080 --> 0:26:48.399
<v Speaker 1>personal impression reaction to the song, and that'll be a

0:26:48.400 --> 0:26:51.240
<v Speaker 1>factual issue for a jury to decide, and that's important

0:26:51.240 --> 0:26:53.000
<v Speaker 1>here because as a defendant, you want to get rid

0:26:53.040 --> 0:26:55.479
<v Speaker 1>of these cases early on, either in motion to dismiss

0:26:55.480 --> 0:26:58.239
<v Speaker 1>stage or some may judgments. Really don't want to let

0:26:58.320 --> 0:27:01.600
<v Speaker 1>the case go to the jury because unusual and challenging

0:27:01.600 --> 0:27:04.000
<v Speaker 1>things can happen when the case gets the jury. We

0:27:04.000 --> 0:27:07.119
<v Speaker 1>saw this in the Blurred Lines case, where the Marvin

0:27:07.160 --> 0:27:10.240
<v Speaker 1>Gay Is State sued Farrell and a number of other

0:27:10.280 --> 0:27:14.600
<v Speaker 1>people over the song Blurred Lines and alleged copyright infringement,

0:27:14.800 --> 0:27:17.800
<v Speaker 1>and the jury returned a verdict in favor of the plaintiff,

0:27:17.880 --> 0:27:21.040
<v Speaker 1>finding copyright infringement and I think awarding over four million

0:27:21.040 --> 0:27:24.720
<v Speaker 1>dollars in damages, even though I struggled to see the

0:27:24.840 --> 0:27:28.760
<v Speaker 1>substantial similarity between the two songs. And that's why you

0:27:28.920 --> 0:27:32.080
<v Speaker 1>don't want to defend let these cases get to jury.

0:27:32.200 --> 0:27:35.359
<v Speaker 1>And the interesting thing here, June, is that the lawyer

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<v Speaker 1>for the Marvin Gay estate and heirs who brought the

0:27:38.480 --> 0:27:41.680
<v Speaker 1>Blurred Lines case, a gentleman by the name of Richard Bush,

0:27:41.800 --> 0:27:44.960
<v Speaker 1>is the lawyer for Rick Ashley in this lawsuit. That

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<v Speaker 1>should prove interesting. Thanks so much, Terry. That's intellectual property

0:27:48.960 --> 0:27:52.600
<v Speaker 1>litigator Terence Ross of Captain Yuchen Rosenman and that's it

0:27:52.680 --> 0:27:55.280
<v Speaker 1>for this edition of The Bloomberg Law Show. Remember you

0:27:55.280 --> 0:27:57.720
<v Speaker 1>can always get the latest legal news on our Bloomberg

0:27:57.840 --> 0:28:01.399
<v Speaker 1>Law Podcast. You can find them on app podcasts, Spotify,

0:28:01.600 --> 0:28:06.640
<v Speaker 1>and at www dot bloomberg dot com slash podcast Slash Law,

0:28:07.040 --> 0:28:09.679
<v Speaker 1>And remember to tune into The Bloomberg Law Show every

0:28:09.720 --> 0:28:13.600
<v Speaker 1>weeknight at ten pm Wall Street Time. I'm June Grosso

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<v Speaker 1>and you're listening to Bloomberg