The Copyright Office plans to readopt almost all existing exemptions under Digital Millennium Copyright Act Section 1201, the agency announced Thursday, with a call for comments on its NPRM in its triennial review (see 2110270057). Section 1201 rules prohibit the circumvention of technological measures used to prevent unauthorized access to copyrighted works. The CO issues triennial exemptions for noninfringing uses of particular copyrighted works. The CO is recommending not renewing an exemption allowing “circumvention of video games in the form of computer programs for the purpose of allowing an individual with a physical disability to use alternative software or hardware input methods.” A renewal petition wasn’t filed for this exemption. Comments in support of proposed exemptions are due Dec. 22, oppositions Feb. 20 and replies March 19.

As it studies copyright law and policy items raised by AI systems, the U.S. Copyright Office is seeking comment to “help assess whether legislative or regulatory steps in this area are warranted,” it said in a Federal Register notice Wednesday. Comments should address such matters as “use of copyrighted works to train AI models, the appropriate levels of transparency and disclosure with respect to the use of copyrighted works, and the legal status of AI-generated outputs,” the CO said. Comments are due Oct. 18, replies Nov. 15.

Ericsson and Huawei said Friday they renewed a multiyear global patent cross-licensing agreement covering patents “essential to standards relevant to the products of the parties, including 3G, 4G, and 5G cellular technologies.” Ericsson estimates full-year 2023 licensing revenue to be about $1 billion, said a news release. "Both companies are major contributors to mobile communication standards and recognize the value of each other's intellectual property,” said Christina Petersson, Ericsson chief intellectual property officer: “This agreement demonstrates the commitment of both parties that intellectual property should be respected and rewarded, and that leading technological innovations should be shared across the industry.”

The Office of the U.S. Trade Representative is seeking comments by Oct. 6, rebuttals Oct. 20, identifying online and physical markets it should consider including in its 2023 “notorious markets” report, said Thursday’s Federal Register. The annual report lists markets “that reportedly engage in or facilitate substantial copyright piracy or trademark counterfeiting,” said the USTR. Its “issue focus” for 2023 “will examine the potential health and safety risks posed by counterfeit goods,” it said.

A U.S. Copyright Office final rule establishing procedures governing ex parte communications with the office is effective Sept. 11, per a Federal Register notice Friday.

Legislators can do more to ensure a functioning music licensing marketplace, various groups told the House Intellectual Property Subcommittee Tuesday. The subcommittee had a field hearing in Nashville looking at the marketplace in the five years since passage of the Music Modernization Act (see 2208150042). The Music.Innovation.Consumers Coalition, in a letter to the subcommittee, argued for more transparency for licensing public performance rights for musical works. The coalition includes NAB, the Computer & Communications Industry Association, CTA, the Digital Media Association and various trade groups representing bars, breweries and consumer-facing businesses. The coalition recently wrote the register of copyrights highlighting the need for a “comprehensive database of public performance of musical works data.” They wrote that licensees rely on “fragmented and unreliable” data when trying to negotiate with an ever-growing list of performance rights organizations like ASCAP, BMI and SESAC. The coalition looks forward to working with the subcommittee on “solutions” for improving data transparency, the coalition wrote Tuesday. The musicFIRST Coalition wrote the subcommittee in support of the American Music Fairness Act Monday (see 2302020068). Members include the Recording Industry Association of America, Sound Exchange, American Association of Independent Musicians and the Recording Academy. Introduced by House Intellectual Property Subcommittee Chairman Darrell Issa, R-Calif., and House Judiciary Committee ranking member Jerry Nadler, D-N.Y., the AM/FM Act would “finally require U.S. broadcasters to recognize the property rights of music artists and compensate them for the use of their songs on domestic AM/FM radio,” which would bring radio in line with streaming services and digital platforms. NAB opposes the AM/FM Act (see 2108120059).

Congress should pass legislation that would require radio stations to pay performance royalties for radio airplay to owners of sound recordings, the Free State Foundation said Monday (see 2108120059). The House Judiciary Committee passed the American Music Fairness Act (HR-4130) Wednesday by voice vote. FSF noted the bill would subject radio stations to the same royalty obligations as satellite radio and music streaming services: It would also “enable sound recording owners to begin receiving from foreign radio stations public performance royalties that have long been withheld because of the shortcomings of U.S. copyright law.” Sens. Marsha Blackburn, R-Tenn., and Alex Padilla, D-Calif., introduced companion legislation in the Senate.

The Copyright Office's online recordation system, part of its enterprise copyright system modernization work, is the first part of ECS to be widely available to the public, the Library of Congress said Monday. The online recordation system will eventually become the primary recordation process, and is much faster at processing submitted documents, it said. Most users are saving at least 90 days in processing times, it said.

Congress should allow sound recording owners to collect royalties when their songs are played on the radio, Free State Foundation Policy Studies Director Seth Cooper wrote Monday. Broadcasters and the recording industry have disagreed on a longstanding legislative debate about the prospect of performance royalty payments for radio airplay (see 2108120059). Congress should stop privileging “radio stations with free rider use of copyrighted sound recordings that belong to third parties,” Cooper wrote in support of the American Music Fairness Act (HR-4130).

Netflix is seeking an order declaring it doesn’t infringe “any valid claim” of Broadcom patents essential to the H.264 and H.265 video codec standards, said the streaming company’s counterclaim Monday in docket 3:20-cv-04677 at the U.S. District Court in San Francisco. The case turned 2 years old July 14 on allegations that Netflix infringed a dozen Broadcom patents. Netflix also said it countersued to enforce Broadcom’s “contractual commitments” to license its standard-essential patents (SEPs) for H.264 and H.265 on reasonable and nondiscriminatory (RAND) terms. Broadcom was obligated under the ITU’s “common patent policy” to publicly declare it would license the SEPs on RAND terms, said Netflix. Broadcom “broke those promises” when it failed to identify its SEPs to Netflix and failed to offer Netflix the required RAND licenses, it said. Broadcom instead demanded that Netflix license, on “unreasonable and exorbitant terms,” Broadcom’s entire U.S. patent portfolio, “most or all of which, is irrelevant and therefore worthless to Netflix,” it said. Broadcom didn’t comment Tuesday.