Haelan Laboratories v. Topps Chewing Gum, 202 F2d 866
(By M/s. Karni Singh Rajora & Krishna K.,VIII Semester B.A.LL.B. (Hons.), NUALS, Kochi)
Quorum of the Judges Before Swan (Chief Judge), Clark and Frank (Circuit Judges).
Facts
The plaintiff is a chewing-gum seller and for the advertising of its product they made a contract with a baseball player providing that plaintiff will have an exclusive right to use the player’s photograph in connection with the sales of plaintiffs gum; the ball-player also agreed not to grant any other gum manufacturer a similar right during such term. Defendant, a rival chewing-gum manufacturer, deliberately induced the player to authorize defendant, to use the player’s photograph in connection with the sales of defendant’s gum either during the original or extended term of plaintiff’s contract and the defendant did so use the photograph.
Right to privacy viz-a-viz right to publicity
The case at hand mainly deals with a balance between right to privacy on one hand and right to publicity on the other hand, in which both the parties agreed that the New York “Law” governed their conduct and any such contract between plaintiff and a ballplayer, in so far as it merely authorized plaintiff to use the player’s photograph, created nothing but a release of liability. Thus, the defendant, knowing of the contract, deliberately induced the ball-player to break that promise and behaved tortuously1. Some of defendant’s contracts were obtained by it through its agent, Players Enterprise, Inc; others were obtained by Russell Publishing Co., acting independently, and were then assigned by Russell to defendant. Since Players acted as defendant’s agent, defendant was liable for any breach of plaintiff's contracts induced by Players. The breach was made by the defendants either by themselves or through their agents, but where it was made by Russell, the Court did not agree with the defendant that none of plaintiff's contracts created more than a release of liability, because a man has no legal interest in the publication of his picture other than his right of privacy. The court opined that, in addition to and independent of that right of privacy, a man has a right in the publicity value of his photograph, i.e., the right to grant the exclusive privilege of publishing his picture, and that such a grant may validly be made without an accompanying transfer of a business or of anything else. This right might be called a “right of publicity”.2
Furthermore, the right of privacy was “purely personal and not assignable” because “rights for outraged feelings are no more assignable than would be a claim arising from a libellous utterance.” Thus, the party soliciting such a subsequent contract knowing of the prior rights and proceeding to use the grant given in violation thereof, its contract is tainted with illegality and is utterly invalid.3 The matter was then remanded to the Trial Court for the determination of two points:-
(1) the date and contents of each of plaintiff's contracts, and whether plaintiff exercised its option to renew;
(2) defendant’s or Players’ conduct with respect to each such contract;
(3) the date and contents of each of defendant’s contracts under which defendant claims, and whether defendant exercised its option to renew, and
(4) plaintiff's conduct with respect to each such contract.
Character Merchandising
In this decision the “right of publicity” as a means of appropriation of one’s personality was acknowledged to confer on a person the same benefits as any other property right, namely, the “exclusive, assignable and descendible” right. The right of publicity tort involves the appropriation of a celebrity’s name or identity for commercial purposes. It seeks to project the property interest that a celebrity has in his or her name; the injury is not to personal privacy, it is the economic loss a celebrity suffers when someone else interferes with the property interest that he or she has in his or her name.4 What is protected under the right of publicity is “the persona.” In short, in the U.S. appropriation of personality of a celebrity is recognized as a tort in that it amounts to appropriation of his right of publicity, damages for which are intended to compensate for the loss of goodwill by the use of celebrity’s personality. The tort of passing off is based on the property value of goodwill in a business. This is precisely what is affected by the appropriation of a celebrity’s personality. Further, the principle of unjust enrichment demand that a person must not “unjustly” benefit at the expense of another; in the case of a celebrity, such expenses may be very tangible.5
Trademarks and right to publicity
Generally, celebrity actors and athletes lead the field of personalities who enjoy a substantive economic value and goodwill in the market much like a trademark. It appears that the celebrity personality is an intangible and valuable asset, and a trademark framework may prima facie suit a majority of right of publicity cases.6 The right of publicity, as determined by the United States Court of Appeals for the Second Circuit in the above decision, gives a celebrity the right to damages and other relief for the unauthorized commercial appropriation of that celebrity’s identity, and such a right is independent of a common law or statutory right of privacy. Hence, the right articulated by Judge Frank in the Haelan Laboratories case has taken root and has grown with the increase of endorsements and other exploitation of personal images of celebrities.
There are possible analogies between the right of publicity and the law of trademarks which may be useful in attempting to define limits to publicity rights. In many respects, the right of publicity functions like a trademark to identify the origin of the celebrity’s services.7 One pair of commentators has proposed that the doctrine of trademark abandonment, for example, provides a conceptually sound analogy for limiting the right of publicity.8 If the estate of a deceased celebrity, they argue, fails to exploit the celebrity’s name and image for a period of time after death, the estate will be deemed by analogy to trademark law to have abandoned its rights. A third party may, at that point, begin to exploit the deceased celebrity’s name or image. The longer the period between the death of the celebrity and exploitation of the celebrity’s persona, the stronger the presumption that the estate has abandoned any claim to the right of publicity.9
Another analogy to trademark law is developed below: an analogy to the doctrine of generic use. Under that doctrine, a trademark proprietor loses its rights when the mark becomes identified in the public mind with a generic product 10. Much in the same way that a trademark passes into the public domain because it assumes a generic meaning, a celebrity’s right of publicity should expire and pass into the public domain when the celebrity’s persona assumes symbolic meaning. Whatever its other merits or demerits, such a rule would operate as a limit on the otherwise rather nebulous boundaries of the right of publicity
.
Current Position
In Haelan Laboratories, which was decided over a decade before Uhlaender v. Henrickson 11, the court glossed over this with a perfunctory comment that “(whether it be labelled (sic) a ‘property’ right is immaterial,” as the courts are effectively enforcing a claim which has pecuniary worth. Generally, with degrees of variations across different state jurisdictions, the United States courts continued to endorse this approach over the next forty years as they recognized the right of celebrities to recover for the unauthorized commercial use of their personae irrespective of the label attached to the right; the doctrinal justification, however, has become almost irrelevant in the courts’ alacrity to protect celebrities from such unauthorized uses.
In another case the Sixth Circuit made a notable contribution to development of the right of publicity in Carson v. Here’s Johnny Portable Toilets, Inc.12 This case is legally interesting in two respects: first, because it addresses the role of parody in publicity cases; second, because it demonstrates that “indicia of identity” (to quote the Restatement) do get protection of the right. The case arose out of two puns used by a Michigan manufacturer of portable toilets. The manufacturer adopted the trade name “Here’s Johnny,” and used the slogan “The World’s Foremost Comedian.” Neither the visage nor the name of the television comedian, Johnny Carson, was used. Nevertheless, Carson argued, his television show had so popularized the phrase “Here’s Johnny,” that it had become an indicator of identity. Though, the claim for action was rejected by the Second Circuit court, the Sixth Circuit was not willing to deny the plaintiff's entire case. The court, divided 2-1, opined that Michigan common law would recognize a right of publicity.13 On the issue of “indicia of identity” the court held that even a popular singer’s voice and style can be protected under the right of publicity.
Nevertheless, in contemporary society, fame is nurtured through the joint efforts of the celebrity trinity - the producers, the audience, and the celebrity individual, - and the Lockean labour doctrinal justification does not address the substantial labour put in by those other than the individual celebrity labour that can often exceed the labour put in by the celebrity. Ironically, in the last few decades, as the celebrity production industry grew in power, organization, and reach, resulting in the diminution of the labour of the celebrity individual, the courts saw an even greater need to recognize the publicity right as the sole property of the celebrity individual. 14
Indian Position
As far as the celebrities rights to publicity in India is concerned, the decision in the case of Star India Pvt. Ltd. v. Leo Burnett India 15, provides that to make a copy means to make a copy as a whole. It starts with the premises that S.13 of the Indian Copyright Act, 1957, excludes originality in case of cinematograph film. The facts in that case related to the making of a 30 seconds long advertisement of the ‘Tide Detergent’, which was based on a serial telecasted by Star Television namely ‘Kyuki Saas Bhi Kabhi Bahu Thi”. The advertisement was made in such a manner that any person viewing the advertisement will be remembered of the serial. In an action bought by Star India the court relying on the premises under S.13 refused to grant relief and held it as a violation of copyright. Here the court held that to make a copy means to make a whole copy.
Foot Note :
1. Hornstein v.Podwitz, 254 N.Y. 443, 173 N.E. 674, 84 A.L.R. 1.
2. Wood v.Lucy, Lady Duff Gordon, 222 N.Y. 88, 118 N.E. 214; Madison Square Garden Corp. v. Universal Pictures Co., 255 App.Div. 459, 465, 7 N.Y.S.2d 845;
3. Reiner v. North American Newspaper Alliance, 259 N.Y. 250, 181 N.E. 561, 83 A.L. R.23.
4 Carrie Rainen, "The Right of Publicity in the United States and the United Kingdom" (2005) 12 New Eng. J. Int’l & Comp. 197 at p.206.
5. N.S. Gopalakrishnan & T.G. Agitha, Principles of Intellectual Property, 1st edn., Eastern Book Company (2009).
6 David Tan, "Beyond Trade Mark Law: What the Right of Publicity can Learn from Cultural Studies", 25 Cardozo Arts & Ent. LJ. 913.
7. Winterland Concessions Co. v.Sileo, 528 FSupp 1201,1214, 213 USPQ 831 (ND III 1981).
8. Armand Cifelli and Walter McMurray, "The Right of Publicity: A Trade Mark Model for its Temporal Scope", 66 Journal of the Patent Office Society 455, 458 (1984).
9. Id at 470-71.
10. J.Thomas McCarthy, Trade Marks and Unfair Competition, 526(2d ed 1984).
11. Supp. 1277, 1282 (D. Minn. 1970).
12. Carson v. Here’s Johnny Portable Toilets, Inc, 698 FD 831 (CA 6, 1983).
13. William L. Prosser, Handbook of the Law of Torts, § 117 (4th Ed 1971).
14. Supra n. 4.
15. 2003 (27) PTC 81.