Figure Skaters Try to Master a New Routine: Copyright Compliance; The New York Times, February 12, 2026

Tariq Panja , The New York Times; Figure Skaters Try to Master a New Routine: Copyright Compliance

"The intricacies of intellectual property law have been the talk of the figure skating competition in Milan unlike at any previous Games. Several athletes have found themselves caught up in copyright controversies before and during one of the biggest competitions of their careers, illustrating the complex and error-prone process skaters must navigate to gain permission to use others’ music in their routines."

Why are copyright problems plaguing figure skating at the Milan Cortina Olympics?; AP, February 11, 2026

DAVE SKRETTA , AP; Why are copyright problems plaguing figure skating at the Milan Cortina Olympics?

"One of the recurring issues during the opening week of the figure skating program at the Milan Cortina Olympics has been copyright problems, which have forced some athletes to scramble for approval and others to ditch their planned programs entirely...

Why are copyright problems happening?

The International Skating Union long forbade the use of lyrics in any discipline besides ice dance, forcing athletes to perform to older pieces of music — often classical tunes, such as piano concertos. Those pieces were considered part of the public domain, which meant that they could be used or modified freely and without permission.

That changed in 2014, when the ISU lifted its ban on lyrics in the hope of appealing to younger audiences. Suddenly, skaters had the choice of just about any musical genre, from pop to hip-hop to hard rock and even heavy metal.

The problem is that modern music is not part of the public domain, which means athletes must obtain permission to use it. During the 2018 Pyeongchang Games, the first Olympics in which lyrics were allowed, American skaters Alexa Knierim and Brandon Frazier used a cover of “House of the Rising Sun,” and the indie rock band ultimately sued them for using it without its permission."

Adam Schiff And John Curtis Introduce Bill To Require Tech To Disclose Copyrighted Works Used In AI Training Models; Deadline, February 10, 2026

Ted Johnson, Deadline; Adam Schiff And John Curtis Introduce Bill To Require Tech To Disclose Copyrighted Works Used In AI Training Models

"Sen. Adam Schiff (D-CA) and Sen. John Curtis (R-UT) are introducing a bill that touches on one of the hottest Hollywood-tech debates in the development of AI: The use of copyrighted works in training models.

The Copyright Labeling and Ethical AI Reporting Act would require companies file a notice with the Register of Copyrights that detail the copyrighted works used to train datasets for an AI model. The notice would have to be filed before a new model is publicly released, and would apply retroactively to models already available to consumers.

The Copyright Office also would be required to establish a public database of the notices filed. There also would be civil penalties for failure to disclose the works used."

Paul Thomas Anderson & Composer Jonny Greenwood Call For Removal Of ‘Phantom Thread’ Music From ‘Melania’ Documentary; Deadline, February 9, 2026

Matt Grover, Deadline ; Paul Thomas Anderson & Composer Jonny Greenwood Call For Removal Of ‘Phantom Thread’ Music From ‘Melania’ Documentary

"After taking notice of the use of a piece of music from their 2017 film Phantom Thread in Amazon MGM Studios‘ Melania Trump documentary Melania, filmmaker Paul Thomas Anderson and composer Jonny Greenwood are requesting its removal.

“It has come to our attention that a piece of music from Phantom Thread has been used in the Melania documentary,” said the duo in a statement issued by Greenwood’s camp.

They noted that while “Jonny Greenwood does not own the copyright in the score, Universal failed to consult Jonny on this third-party use which is a breach of his composer agreement. As a result Jonny and Paul Thomas Anderson have asked for it to be removed from the documentary.”"

Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright; Webinar, National Press Foundation: Thursday, February 19, 2026 12 PM - 1 PM EST

Webinar, National Press Foundation: Essential Knowledge for Journalists Reporting on AI, Creativity and Copyright 

"Generative AI is one of the biggest technological and cultural stories of our time – and one of the hardest to explain. As AI companies train models on news articles, books, images and music, reporters face tough questions about permission, transparency and fair use. Should AI companies pay when creative works are used to train their AI models? Where’s the line between innovation and theft?

The National Press Foundation will host a webinar to help journalists make sense of the evolving AI licensing landscape and report on it with clarity and confidence. We’ll unpack what “AI licensing” really means, how early one-off deals are turning into structured revenue-sharing systems, and why recent agreements in media and entertainment could shift the conversation from conflict to cooperation.

Join NPF and a panel of experts for a free online briefing from 12-1 p.m. ET, Feb. 19, 2026. The practical, forward-looking discussion examines how trust, creativity, and innovation can coexist as this new era unfolds and will equip journalists with plain-language explanations, real-world examples, and story angles that help readers understand why AI licensing matters to culture, innovation and the creative ecosystem they rely on every day."

Russian figure skater changes Olympic music over copyright; Associated Press via ESPN, February 8, 2026

Associated Press via ESPN; Russian figure skater changes Olympic music over copyright

"Russian figure skater Petr Gumennik has been forced to change his short program music two days before the men's program at the Milan Cortina Olympics after joining a growing list of figure skaters dealing with copyright issues.

Gumennik, who is participating as a neutral athlete at the Winter Games, had been working all season to music from "Perfume: The Story of a Murderer," a psychological thriller film. But the 23-year-old Russian national champion learned in the past few days that he did not have proper permission to perform to the music, leaving him in limbo as the Winter Games began.

Given such a tight timeframe, Gumennik was unable to get clearance for his music from last season, which came from the space opera film "Dune." So he pivoted to "Waltz 1805" by Edgar Hakobyan, for which Gumennik was able to get permission."

US figure skater Amber Glenn faces backlash over politics and copyright issues; AP via ABC News, February 9, 2026

DAVE SKRETTA AP sports writer via ABC News; US figure skater Amber Glenn faces backlash over politics and copyright issues

"On the same day Amber Glenn won Olympic gold as part of the team event, and stepped away from social media due to backlash over her comments on politics and the LGBTQ+ community, the American figure skater ended up with another headache.

Canadian artist Seb McKinnon, who produces music under the name CLANN, took to social media late Sunday to object to the use of his song “The Return,” which Glenn had used in her free skate — and has been using for the past two years without issue.

“So just found out an Olympic figure skater used one of my songs without permission for their routine. It aired all over the world ... what? Is that usual practice for the Olympics?” McKinnon posted to X, shortly after the team competition had ended.

Figure skaters are required to obtain permission for the music they use, but that process is hardly straightforward.

Sometimes the label or record producer owns the copyright, other times the artist themselves, and often there are multiple parties involved. Skaters sometimes will piece together different cuts of music, too. Throw in third-party companies such as ClicknClear that try to smooth out the permission process, and the entire copyright issue becomes murky and nuanced."

Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement; Vice, February 4, 2026

Lauren Boisvert, Vice; Legal Battle Continues for Amyl & the Sniffers and L.A. Photographer, Both Citing Copyright Infringement

"Legal issues have escalated for Australian punks Amyl & The Sniffers, and right after they announced upcoming tour dates. L.A. courts scheduled a hearing for February 13, 2026, regarding a copyright lawsuit and a restraining order filed last year. The issue allegedly began in June 2024, involving L.A.-based photographer Jamie Nelson.

In December 2025, Nelson filed a civil harassment restraining order petition against Amy Taylor, vocalist of Amyl & The Sniffers. Courts in L.A. did not grant the temporary restraining order. But they did schedule the hearing at this time.

Nelson is cited as the creator and copyright holder of a series of photographs taken of Taylor. The series, titled “Champagne Problems”, appeared in the July 2025 issue of Vogue Portugal.The problem arises for both parties in the subsequent use of these photos beyond their initial purpose.

Essentially, Nelson is accusing Taylor of violating copyright on her photos. Allegedly, a third party related to Taylor distributed them without permission. Prior to this, Taylor accused Nelson of exploiting her image for profit and self-advertisement. Allegedly, she sold fine art prints of the photos. Both parties have taken legal action."

Radiohead's Biggest Song of All-Time Got Them Sued for Copyright Infringement; Collider, February 7, 2026

Dyah Ayu Larasati, Collider; Radiohead's Biggest Song of All-Time Got Them Sued for Copyright Infringement

"Radiohead gained widespread attention thanks to their breakout song, "Creep," but not all publicity is good publicity. Released on September 21, 1992, "Creep" was initially considered a commercial flop due to its harsh, distorted guitar "punches," with broadcast stations like the BBC fearing the song might scare off listeners. Over time, however, "Creep" developed a slow-burn cult following, boosted in part by its appearance on MTV's slacker staple Beavis and Butt-Head. Sharing a similar vein with alt-rock counterparts like Beck's "Loser" and its 2000s peppier yet equally self-loathing "Teenage Dirtbag" by Wheatus, "Creep" embraces the ugly side of an attraction that is not reciprocated.

However, shortly after the release of "Creep," Radiohead found themselves in a sticky legal situation. Songwriters Albert Hammond and Mike Hazlewood claimed that the track shared a similar chord progression and melody with "The Air That I Breathe," which they wrote for The Hollies in 1972. Although it was not as large a cultural phenomenon as "Creep," the song reached number two on the UK charts. Upon noticing the similarities, Hammond and Hazlewood contacted Radiohead's publisher, Warner/Chappell Music. Rather than escalating into a public dispute, the matter was resolved amicably, with both parties receiving songwriting credits and having their creative contributions formally recognized. Reflecting on the outcome, Hammond later remarked, "I even have a credit on Creep by Radiohead because of the song. The band admitted that they took the inspiration for it from The Air That I Breathe, including some of the chord progressions."...

In 2017, Lana Del Rey was accused by Radiohead of plagiarizing "Creep." Her song "Get Free," from her fifth studio album Lust for Life, features an intro with moody chord changes that some listeners noted were similar to "Creep." However, in a tweet, Del Rey denied referencing Radiohead: " It's true about the lawsuit. Although I know my song wasn't inspired by Creep, Radiohead feel it was and want 100% of the publishing — I offered up to 40 over the last few months, but they will only accept 100." As of March 26, 2018, the copyright dispute has been settled, and Del Rey is free to sing the song."

Music Labels Secure Win in Copyright Suit Over Documentary Music; Bloomberg Law, February 5, 2026

Kyle Jahner

, Bloomberg Law; Music Labels Secure Win in Copyright Suit Over Documentary Music

"A group of music labels secured near-total victory in a copyright-infringement lawsuit against the seller of ten documentaries about various bands.

Coda Publishing Ltd. and its owner willfully infringed more than 100 songs by the Rolling Stones, ABBA, U2, Nirvana, Elton John, Lynyrd Skynrd, and Red Hot Chili Peppers, the US District Court for the Southern District of New York said. The Wednesday order, citing reasons stated orally in court earlier that day, resolved summary judgment motions filed in 2021 in a case that had been stayed since a 2022 discovery sanctions ruling against the labels."

Judge Lets Blade Runner 2049 Copyright Suit Against Elon Musk and Tesla Move Forward; Reason, February 6, 2026

 JACK NICASTRO, Reason; Judge Lets Blade Runner 2049 Copyright Suit Against Elon Musk and Tesla Move Forward

"Wu's ruling will set a precedent for copyright holders to sue anyone whom they assume illegally copied their intellectual property to create something entirely unmistakable for it because the cases will be less likely to be dismissed. This means an increase in the expected cost of using generative AI—litigation is expensive—and a corresponding decrease in creative, productive uses of this revolutionary technology."

Publishers Strike Back Against Google in Infringement Suit; Publishers Weekly, February 6, 2026

Jim Milliot , Publishers Weekly; Publishers Strike Back Against Google in Infringement Suit

"The Association of American Publishers continued its fight this week to allow two of its members, Hachette Book Group and Cengage, to join a class action copyright infringement lawsuit against Google and its generative AI product Gemini. The lawsuit was first brought by a group of illustrators and writers in 2023.

In mid-January the AAP filed its first motion to allow the two publishers to take part in the lawsuit that is now before Judge Eumi K. Lee in the U.S. District Court for the Northern District of California. Earlier this week the AAP filed its reply to Google’s motion asking the court to block AAP’s request.

At the core of Google’s argument is the notion that the publishers should have asked to intervene sooner, as well as the assertion that publishers have no interest in the case because they don’t own authors works.

In its response, AAP argues that it was only when the case reached class certification that the publishers’ interests became clear. The new filing also rebuts Google’s other claim that publishers’ don’t own any rights.

“Google’s professed misunderstanding of ownership exemplifies exactly the kind of value that Proposed Intervenors bring to the case,” the AAP stated, arguing that both HBG and Cengage own certain rights to the works in question and that “scores” of other publishers will be impacted by the litigation."

Beware of Copyright Scams: How to Spot Fraud and Protect Yourself; Library of Congress Blogs, Copyright Creativity at Work, February 5, 2025

George Thuronyi, Library of Congress Blogs, Copyright Creativity at Work; Beware of Copyright Scams: How to Spot Fraud and Protect Yourself

"Fraud exists in many forms, and the copyright arena is no exception. Creators, businesses, and members of the public engage online with copyright law, registration systems, and licensing practices. Bad actors sometimes exploit misunderstandings about how copyright works and how the U.S. Copyright Office operates. Scams involving copyright can be convincing, costly, and stressful, but knowing how they work is the first step toward avoiding them.

This post explains the U.S. Copyright Office’s role, describes common types of copyright-related fraud, outlines why these schemes are harmful, and offers practical steps to take if you suspect fraud."

When AI and IP Collide: What Journalists Need to Know; National Press Foundation (NPF), January 22, 2026

National Press Foundation (NPF); When AI and IP Collide: What Journalists Need to Know

"With roughly 70 federal lawsuits waged against AI developers, the intersection of technology and intellectual property is now one of the most influential legal beats. Courts are jumping in to define the future of “fair use.” To bridge the gap between complex legal proceedings and the public’s understanding, NPF held a webinar to unpack these intellectual property battles. One thing all of the expert panelists agreed on: most cases are either an issue of input – i.e. what the AI models pull in to train on – or output – what AI generates, as in the case of Disney and other Hollywood studios v. Midjourney.

“The behavior here of AI companies and the assertion of fair use is completely understandable in our market capitalist system – all players want something very simple. They want their inputs for little or nothing and their outputs to be very expensive,” said Loyola Law professor Justin Hughes. “The fair use argument is all about AI companies wanting their inputs to be free, just like ranchers want their grazing land from the federal government to be free or their mining rights to be free.” AI Copyright Cases Journalists Should Know: Bartz et al. v. Anthropic: Anthropic reached a $1.5 billion settlement in a landmark case for the industry after a class of book authors accused the company of using pirated books to train the Claude AI model. “The mere training itself may be fair use, but the retention of these large copy data sets and their replication or your training from having taken pirated data sets, that’s not fair use,” Hughes explained. The NYT Company v. Microsoft Corporation et al.: This is a massive multi-district litigation in New York where the NYT is suing OpenAI. The Times has pushed for discovery into over 20 million private ChatGPT logs to prove that this model is being used to get past paywalls. Advance Local Media LLC et al. v. Cohere Inc.: The case against the startup Cohere is particularly vital for newsrooms as a judge ruled that AI-generated summaries infringe of news organizations’ ability to get traffic on their sites. “We’ve seen, there’s been a lot of developers who have taken the kind of classic Silicon Valley approach of ask forgiveness rather than permission,” said Terry Hart, general counsel of the Association of American Publishers. “They have gone ahead and trained a lot of models using a lot of copyrighted works without authorization.” Tech companies have trained massive models to ingest the entirety of the internet, including articles, without prior authorization, and Hughes points out that this is a repeated occurrence. AI companies often keep unauthorized copies of these vast datasets to retrain and tweak their models, leading to multiple steps of reproduction that could violate copyright. AI and U.S. Innovation A common defense from tech companies in Silicon Valley is that using these vast amounts of data is necessary to U.S. innovation and keeping the economy competitive. “‘We need to beat China, take our word for it, this is going to be great, and we’re just going to cut out a complete sector of the economy that’s critical to the success of our models,'” Hart said. “In the long run, that’s not good for innovation. It’s not good for the creative sectors and it’s not good for the AI sector.” Reuters technology reporter Deepa Seetharaman has also heard the China competition argument, among others. “The metaphor that I’ll hear a lot here is, ‘it’s like somebody visiting a library and reading every book, except this is a system that can remember every book and remember all the pieces of every book. And so why are you … harming us for developing something that’s so capable?'” Seetharaman said. Hughes noted that humans are not walking into a library with a miniature high-speed photocopier to memorize every book. Humans don’t memorize with the “faithful” precision of a machine. Hart added that the metaphor breaks down because technology has created a new market space that isn’t comparable to a human reader. Speakers:

• Wayne Brough, Resident Senior Fellow, Technology and Innovation Team, R Street
• Terry Hart, General Counsel, Association of American Publishers
• Justin Hughes, Honorable William Matthew Byrne Distinguished Professor of Law, Loyola Marymount University
• Deepa Seetharaman, Tech Correspondent, Reuters

Summary and transcript: https://nationalpress.org/topic/when-... This event is sponsored by The Copyright Alliance and NSG Next Solutions Group. This video was produced within the Evelyn Y. Davis studios. NPF is solely responsible for the content."

Figure skater saved from scrapping Olympic routine after Minions music copyright dispute; The Guardian, February 3, 2026

Bryan Armen Graham , The Guardian; Figure skater saved from scrapping Olympic routine after Minions music copyright dispute

"The Spanish figure skater Tomàs-Llorenç Guarino Sabaté has been spared a last-minute scramble to redesign his Olympic short program after overcoming a copyright dispute that had threatened to block him from using music from the Minions franchise at the Milano Cortina Winter Games.

The six-time Spanish national champion, who is set to make his Olympic debut in the men’s singles event, said he learned late last week that the routine he has performed throughout the 2025-26 season would not be cleared for Olympic use. Guarino Sabaté said he had submitted the music through the International Skating Union’s recommended rights-clearance process months ago and had competed with the program without issue during the season, including at last month’s European championships in Sheffield.

However, on Tuesday the 26-year-old thanked his fans after Universal gave him permission to use the Minions soundtrack.

“Huge THANK YOU to everyone who reposted, shared and supported. Because of you Universal Studios reconsidered and officially granted the rights for this one special occasion,” Guarino Sabaté wrote on Instagram. “There are still a couple things to be tied up with the other 2 musics of the programme but we are so close to accomplishing it! And it’s all thanks to you!! I’m so happy to see that the minions hitting Olympic ice is becoming real again!! I’ll keep you posted.”"

The Copyright Conversation; Library Journal, February 3, 2026

Hallie Rich, Library Journal; The Copyright Conversation

"Welcome to the Library Journal Roundtable. The theme for today is copyright. The context is libraries. My name is Jim Neal. I’m University Librarian Emeritus at Columbia University in New York and Senior Policy Fellow at the American Library Association. I will serve as the moderator.

Allow me to introduce the members of the panel. Jonathan Band is the counsel to the Library Copyright Alliance. He works with the American Library Association and the Association of Research Libraries. Sara Benson is Associate Professor and Copyright Librarian at the University of Illinois Library. She’s also an affiliate professor at the School of Information of the Siebel Center for Design, the European Union Center and the Center for Global Studies. Rick Anderson is the University Librarian at Brigham Young University. Kyle Courtney is Director of Copyright and Information Policy at Harvard and founder of two library nonprofits, Library Futures and the eBook Study Group.

All of these individuals are copyright and information policy experts with years and years of deep involvement in education and advocacy around the importance of copyright for libraries, the laws and legislation which influence our work in libraries."

Minions copyright decision drives Spanish Olympic figure skater, well, bananas; The New York Times, February 2, 2026

Alex Valdes, The New York Times; Minions copyright decision drives Spanish Olympic figure skater, well, bananas

"Spanish figure skater Tomàs-Llorenç Guarino Sabaté might not speak Minion, but if he did, he might have plenty to say.

With only days before the start of competition at the Milan Cortina Winter Olympics, Guarino Sabaté was informed that, because of copyright issues, he will not be able to perform his routines to the Minions music mix he has been using throughout the 2025-26 season. He has also done his routines in an outfit reminiscent of the movie characters: a yellow T-shirt and blue overalls.

Universal Pictures, which owns the subsidiary Illumination, which in turn owns the Minions franchise, told Guarino Sabaté he cannot use the music. In an Instagram post, the skater said he “followed all due procedures and submitted my music through the ISU ClicknClear system in August, and competed with this program for the entire season.”

However, Guarino Sabaté was told Friday — one week before the start of the skating competition — that he did not have permission...

In a statement, the International Skating Union said: “Copyright clearances can represent a challenge for all artistic sports. While the ISU does not have a contractual relationship with ClicknClear, we continue to work collaboratively with rights clearance stakeholders to ensure that thrilling performances can be accompanied by stirring music.”...

ClicknClear is a “music rights tech company delivering officially licensed music to choreographed sports athletes/teams and performing arts ensembles that use music in their routines worldwide,” according to its website."

Figure skater forced to scrap Olympic routine after Minions music copyright dispute; The Guardian, February 2, 2026

Bryan Armen Graham, The Guardian ; Figure skater forced to scrap Olympic routine after Minions music copyright dispute

"The Spanish figure skater Tomàs-Llorenç Guarino Sabaté faces a last-minute scramble to redesign his Olympic short program after a copyright dispute blocked him from using music from the Minions franchise just days before competition begins at the Milano Cortina Winter Games.

The six-time Spanish national champion, who is set to make his Olympic debut in the men’s singles event, said he learned late last week that the routine he has performed throughout the 2025-26 season would not be cleared for Olympic use. 

Guarino Sabaté said he had submitted the music through the International Skating Union’s recommended rights-clearance process months ago and had competed with the program without issue during the season, including at last month’s European championships in Sheffield.

The ruling means the 26-year-old must now adapt or replace choreography he has refined for months, a daunting task in a sport where musical timing and muscle memory are inseparable...

Rights to the Minions property are controlled by Illumination and parent studio Universal Pictures. It was not immediately clear which specific licensing hurdle ultimately blocked Olympic clearance, but music licensing in figure skating has grown increasingly labyrinthine in recent years, particularly as the sport has shifted toward contemporary popular music...

“It’s a complex issue, frankly, because the music industry has no common clearance platform,” Smith said. “There are multiple buckets of rights, and within those buckets the clearance process isn’t done on a single platform. Tracking tools have improved, but the facilitated process just isn’t there.”

Students Are Finding New Ways to Cheat on the SAT; The New York Times, January 28, 2026

 Stephanie Saul, The New York Times; Students Are Finding New Ways to Cheat on the SAT

Sites in China are selling test questions, and online forums offer software that can bypass test protections, according to tutors and testing experts raising alarms.

"Three years ago, after nearly a century of testing on paper, the College Board rolled out a new digital SAT.

Students who had long relied on No. 2 pencils to take the exam would instead use their laptops. One advantage, the College Board said, was a reduced chance of cheating, in part because delivering the test online meant the questions would vary for each student.

Now, however, worries are growing that the College Board’s security isn’t fail safe. Fueling the concerns are what appear to be copies of recently administered digital SAT questions that have been posted on the internet — on social media sites as well as websites primarily housed in China...

Test questions also have been sold on Telegram, a Dubai-based platform, and posted on Scribd, a subscription digital repository of data. Students have also circulated questions among themselves on Google docs, the European tutor said. Many of the tests have been removed from Scribd, apparently at the College Board’s request. A spokesman for Scribd, based in San Francisco, said the company responds to valid requests to remove copyrighted material.

But the College Board has been unable to fight bluebook.plus, according to an email exchange with the College Board that the tutor shared."

Copyright and creativity in Episode 2 of the EUIPO Podcast; European Union Intellectual Property Office (EUIPO), January 28, 2026

European Union Intellectual Property Office (EUIPO); Copyright and creativity in Episode 2 of the EUIPO Podcast

"Copyright and creativity in Episode 2 of the EUIPO Podcast

The European Union Intellectual Property Office (EUIPO) has released the second episode of its podcast series ‘Creative Sparks: From inspiration to innovation’, focusing on copyright and the launch of the EUIPO Copyright Knowledge Centre.

Titled “The idea makers: Europe’s new home for copyright”, the episode looks at how copyright supports creativity across Europe. From music, film and publishing to design, digital content and emerging technologies such as generative artificial intelligence.

It brings together institutional and creator perspectives through two guests: Véronique Delforge, copyright legal expert at the EUIPO, and Nathalie Boyer, actress, voice-over artist, Board member of ADAMI and President of the ADAMI Foundation for the Citizen Artist. They discuss creative innovation, why copyright remains essential in a rapidly evolving creative landscape and how creators can better understand and exercise their rights.

The conversation highlights the growing complexity of copyright in a digital and cross-border environment, the specific challenges faced by performers and cultural organisations, and the need for clarity, transparency and trusted information. Particular attention is given to the impact of streaming platforms and generative AI on creative works, authorship and remuneration.

The episode also introduces the EUIPO Copyright Knowledge Centre, launched to bring together reliable information, research, tools and resources in one place.

Making IP closer

The podcast is part of the EUIPO’s determination to make intellectual property more accessible to all and engaging for Europeans, businesses and creators.

The EUIPO will issue monthly episodes and explore topics related to creativity and intellectual property as a tool to foster innovation and enhance competitiveness in EU in the digital era, among many others."