To:
`
`Subject:
`
`Sent:
`
`Sent As:
`
`Attachments:
`
`Beatport, LLC (lmk@bhgrlaw.com)
`
`U.S. TRADEMARK APPLICATION NO. 85396824 - SOUNDS TO SAMPLE - 93020.00010
`
`9/15/2011 6:02:42 PM
`
`ECOM107@USPTO.GOV
`
`Attachment - 1
`Attachment - 2
`Attachment - 3
`Attachment - 4
`Attachment - 5
`Attachment - 6
`Attachment - 7
`Attachment - 8
`Attachment - 9
`Attachment - 10
`Attachment - 11
`Attachment - 12
`Attachment - 13
`Attachment - 14
`Attachment - 15
`Attachment - 16
`Attachment - 17
`Attachment - 18
`Attachment - 19
`Attachment - 20
`Attachment - 21
`Attachment - 22
`Attachment - 23
`Attachment - 24
`Attachment - 25
`
`UNITED STATES PATENT AND TRADEMARK OFFICE (USPTO)
`OFFICE ACTION (OFFICIAL LETTER) ABOUT APPLICANT’S TRADEMARK APPLICATION
`
`85396824
`
`(cid:160)(cid:160)(cid:160) CORRESPONDENT ADDRESS:
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`*85396824*
`
`CLICK HERE TO RESPOND TO THIS LETTER:
`http://www.uspto.gov/trademarks/teas/response_forms.jsp
`
`(cid:160) (cid:160)(cid:160)(cid:160) APPLICATION SERIAL NO.(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160) MARK: SOUNDS TO SAMPLE(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160) (cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) APPLICANT:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160) (cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT’S REFERENCE/DOCKET NO :(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`(cid:160)(cid:160)(cid:160)
`93020.00010(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160) CORRESPONDENT E-MAIL ADDRESS:(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`PATRICK K. PERRIN(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`BERG HILL GREENLEAF & RUSCITTI LLP(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`BOULDER, CO 80302-5517(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`1712 PEARL ST
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`(cid:160) Beatport, LLC
`
`lmk@bhgrlaw.com
`
`OFFICE ACTION
`
`

`

`STRICT DEADLINE TO RESPOND TO THIS LETTER
`TO AVOID ABANDONMENT OF APPLICANT’S TRADEMARK APPLICATION, THE USPTO MUST RECEIVE APPLICANT’S COMPLETE
`RESPONSE TO THIS LETTER WITHIN 6 MONTHS OF THE ISSUE/MAILING DATE BELOW.
`
`(cid:160)I
`
`SSUE/MAILING DATE: 9/15/2011
`
`The referenced application has been reviewed by the assigned trademark examining attorney.(cid:160) Applicant must respond timely and completely to
`the issue(s) below.(cid:160) 15 U.S.C. §1062(b); 37 C.F.R. §§2.62(a), 2.65(a); TMEP §§711, 718.03.
`
`(cid:160)S
`
`EARCH RESULTS
`
`The trademark examining attorney has searched the Office’s database of registered and pending marks and has found no conflicting marks that
`would bar registration under Trademark Act Section 2(d).(cid:160) TMEP §704.02; see 15 U.S.C. §1052(d).
`
`SECTION 2(e)(1) REFUSAL – MERELY DESCRIPTIVE
`
`(cid:160)R
`
`egistration is refused because the applied-for mark merely describes a feature of applicant’s goods and services. (cid:160) Trademark Act Section
`2(e)(1), 15 U.S.C. §1052(e)(1); see TMEP §§1209.01(b), 1209.03 et seq.
`
`(cid:160)T
`
`he determination of whether a mark is merely descriptive is considered in relation to the identified goods and/or services, not in the abstract.(cid:160)
`In re Abcor Dev. Corp., 588 F.2d 811, 814, 200 USPQ 215, 218 (C.C.P.A. 1978); TMEP §1209.01(b); see, e.g., In re Polo Int’l Inc. , 51 USPQ2d
`1061 (TTAB 1999) (finding DOC in DOC-CONTROL would be understood to refer to the “documents” managed by applicant’s software, not
`“doctor” as shown in dictionary definition); In re Digital Research Inc., 4 USPQ2d 1242 (TTAB 1987) (finding CONCURRENT PC-DOS
`merely descriptive of “computer programs recorded on disk” where relevant trade used the denomination “concurrent” as a descriptor of a
`particular type of operating system).(cid:160) “Whether consumers could guess what the product is from consideration of the mark alone is not the test.” (cid:160)
`In re Am. Greetings Corp., 226 USPQ 365, 366 (TTAB 1985).
`
`(cid:160)“
`
`(cid:160) In re
`A mark may be merely descriptive even if it does not describe the ‘full scope and extent’ of the applicant’s goods or services.”
`Oppedahl & Larson LLP, 373 F.3d 1171, 1173, 71 USPQ2d 1370, 1371 (Fed. Cir. 2004) (citing In re Dial-A-Mattress Operating Corp., 240
`F.3d 1341, 1346, 57 USPQ2d 1807, 1812 (Fed. Cir. 2001)); TMEP §1209.01(b).(cid:160) It is enough if the term describes only one significant function,
`attribute or property.(cid:160) In re Oppedahl, 373 F.3d at 1173, 71 USPQ2d at 1371; TMEP §1209.01(b).
`
`(cid:160)T
`
`he term “sample” is commonly used in the music industry and refers to a portion of (cid:160) sound recordings and reusing it or combining it with other
`different sound recordings.
`In music, sampling is the act of taking a portion, or sample, of one sound recording and reusing it as an instrument or a different sound
`recording of a song or piece. The widespread use of sampling in popular music originated with the birth of electronic dance music, hip hop
`music and industrial music in the late 1970s to early 1980s. This is typically done with a sampler, which can be a piece of hardware or a
`computer program. Sampling is also possible with tape loops or with vinyl records on a phonograph.
`
`Often "samples" consist of one part of a song, such as a break, used in another, for instance the use of the drum introduction from Led Zeppelin
`'s "When the Levee Breaks" in songs by the Beastie Boys, Dr. Dre, Eminem, Mike Oldfield, Rob Dougan, Coldcut, Depeche Mode and Erasure,
`and the guitar riffs from Foreigner's "Hot Blooded" in Tone LÅ(cid:141)c's "Funky Cold Medina". "Samples" in this sense occur often in industrial music,
`often using spoken words from movies and TV shows, as well as electronic music (which developed out of the musique concrète style of
`electroacoustic music, based almost entirely on samples and sample-like parts), hip hop, developed from DJs repeating the breaks from songs,[1]
`and contemporary R&B, but are becoming more common in other music as well.” www.wikipedia.org.
`
`The attached evidence demonstrates that sampling music sounds is a popular and common service provided over the internet.
`
`(cid:160)T
`
`he applicant’s mark SOUNDS TO SAMPLE describes the services which feature a website that allows one to sample musical sounds.
`
`(cid:160)T
`
`he applied-for mark has been refused registration on the Principal Register.(cid:160) Applicant may respond to the refusal by submitting evidence and
`arguments in support of registration and/or by amending the application to seek registration on the Supplemental Register.(cid:160) See 15 U.S.C. §1091;
`37 C.F.R. §§2.47, 2.75(a); TMEP §§801.02(b), 816.(cid:160) Amending to the Supplemental Register does not preclude applicant from submitting
`evidence and arguments against the refusal.(cid:160) TMEP §816.04.
`
`(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`

`

`REQUIREMENTS
`
`(cid:160)R
`
`ECITATION OF GOODS AND SERVICES
`
`(cid:160)(cid:160)(cid:160) Class 9
`
`(cid:160)T
`
`he wording “downloadable digital music bits” in the identification of goods is indefinite and must be clarified. Please state the common
`commercial name of the goods or explain the meaning of “music bits.” Applicant may amend to “downloadable music sample sounds.” See
`TMEP §1402.01.
`
`(cid:160)C
`
`lass 35
`
`(cid:160)T
`
`he wording “Distribution of bits of music and loops of music” in the identification of services is indefinite, incorrectly classified and must be
`clarified. What is meant by “distribution”? Is the applicant selling goods (retail services) or providing a website in which someone may listen to
`certain (cid:160) samples of music (entertainment services namely providing a website featuring non-downloadable music sample sounds and musical
`loops or(cid:160) providing an Internet website portal in the field of music- Class 41). Please clarify.(cid:160) See TMEP §1402.01.
`
`(cid:160)A
`
`n applicant may amend an identification of goods and services only to clarify or limit the goods and services; adding to or broadening the
`scope of the goods and/or services is not permitted.(cid:160) 37 C.F.R. §2.71(a); see TMEP §§1402.06 et seq., 1402.07 et seq.
`
`(cid:160)T
`
`he Office requires a degree of particularity necessary to identify clearly goods and/or services covered by a mark.(cid:160) See In re Omega SA, 494
`F.3d 1362, 1365, 83 USPQ2d 1541, 1543-44 (Fed. Cir. 2007).(cid:160) Descriptions of goods and services in applications must be specific, explicit, clear
`and concise.(cid:160) TMEP §1402.01; see In re Cardinal Labs., Inc., 149 USPQ 709, 711 (TTAB 1966); Cal. Spray-Chem. Corp. v. Osmose Wood
`Pres. Co. of Am., 102 USPQ 321, 322 (Comm’r Pats. 1954).
`
`(cid:160)F
`
`or assistance with identifying and classifying goods and/or services in trademark applications, please see the online searchable Manual of
`Acceptable Identifications of Goods and Services at http://tess2.uspto.gov/netahtml/tidm.html.(cid:160) See TMEP §1402.04.
`
`If applicant has questions regarding this Office action, please telephone or e-mail the assigned trademark examining attorney.(cid:160) All relevant e-
`mail communications will be placed in the official application record; however, an e-mail communication will not be accepted as a response to
`this Office action and will not extend the deadline for filing a proper response.(cid:160) See 37 C.F.R. §2.191; TMEP §§709.04-.05.(cid:160) Further, although
`the trademark examining attorney may provide additional explanation pertaining to the refusal and/or requirements in this Office action, the
`trademark examining attorney may not provide legal advice or statements about applicant’s rights. (cid:160) See TMEP §§705.02, 709.06.
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`
`/Lesley LaMothe/
`Trademark Attorney
`Law Office 107
`571-272-9184
`lesley.lamothe@uspto.gov
`
`(cid:160)T
`
`O RESPOND TO THIS LETTER: (cid:160) Go to http://www.uspto.gov/trademarks/teas/response_forms.jsp. (cid:160) Please wait 48-72 hours from the
`issue/mailing date before using TEAS, to allow for necessary system updates of the application.(cid:160) For technical assistance with online forms, e-
`mail TEAS@uspto.gov.(cid:160) For(cid:160)questions about the Office action itself, please contact the assigned trademark examining attorney.(cid:160)(cid:160) E-mail
`communications will not be accepted as responses to Office actions; therefore, do not respond to this Office action by e-mail.
`
`(cid:160)A
`
`ll informal e-mail communications relevant to this application will be placed in the official application record.
`
`(cid:160)W
`
`HO MUST SIGN THE RESPONSE:(cid:160) It must be personally signed by(cid:160)an individual applicant or(cid:160)someone with legal authority to bind an
`applicant (i.e., a corporate officer, a general partner, all joint applicants).(cid:160)(cid:160)If an applicant is represented by an attorney, the attorney must sign the
`
`response.(cid:160)(cid:160)
`PERIODICALLY CHECK THE STATUS OF THE APPLICATION: (cid:160) To ensure that applicant does not miss crucial deadlines or official
`notices, check the status of the application every three to four months using Trademark Applications and Registrations Retrieval (TARR) at
`http://tarr.uspto.gov/. (cid:160) Please keep a copy of the complete TARR screen. (cid:160) If TARR shows no change for more than six months, call
`1-800-786-9199. (cid:160) For more information on checking status, see http://www.uspto.gov/trademarks/process/status/.
`
`(cid:160)(cid:160)
`

`

`TO UPDATE CORRESPONDENCE/E-MAIL ADDRESS: Use the TEAS form at http://www.uspto.gov/teas/eTEASpageE.htm.
`
`(cid:160)T
`
`O UPDATE CORRESPONDENCE/E-MAIL ADDRESS:(cid:160) Use the TEAS form at http://www.uspto.gov/teas/eTEASpageE.htm.
`
`(cid:160)(cid:160)(cid:160)(cid:160)(cid:160)
`

`

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`Q .
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`Sampling (music)
`_
`_
`_
`From Wikipedia, the free encyclopedia
`Thrs artrcle rs about reusing e><.Istr'ng sound recordings in creetrng new works. For other uses, see Sample {drsarnbiguation}.
`_
`ln music, sampling is the act oftaking a portion, or sample, otone sound recording and reusing it as an instrument or a difierent sound recording ota song or piece The widespread
`use of sampling in popular music originated with the birth ofelectronic dance music, hip hop music and industrial music in the late 19?E|s to early 1980s. This is typically done with a
`sampler, which can be a piece othardware or a computer program. Sampling is also possible with tape loops orwith vinyl records on a phonograph.
`Often "samples" consist of one part ot'a song, such as a break, used in another, for instance the use ofthe drum introduction from Led Zeppelin's "When the Levee Elreaks" in songs by
`the Eeastie Boys, Dr Dre, Eminem, Mike Oldfield, Rob Dougan, Coldcut, Depeche Mode and Erasure, and the guitar riffs from Foreigners "Hot Blooded" in Tone Lfic's "Funky Cold
`Medina" "Samples" in this sense occur often in industrial music, ofien using spoken words from movies and TV shows, as well as electronic music (which developed out ofthe
`musique concrete style of electroacoustic music, based almost entirely on samples and sample-like parts), hip hop, developed from DJs repeating the breaks from songs,m and
`contemporary R&El, but are becoming more common in other music as well.
`
`Comemsmde]
`
`'1T"peS
`1.2 Musical instruments
`1'1 """"S .
`1.3 Resampled layers ofsounds generated by a music workstation‘
`1.4 Recordings and popular examples
`2 Sampler
`53 Legal issues
`3.1 Early cases
`3.219903
`3.3 20003
`3.4 Legal issues in practice
`3.5 Spoken word
`3.6 Unconventional sounds
`.4 See also
`4.1 Sampling in othercontexts
`5 Footnotes
`6 Furtherreading
`7 External links
`
`Types
`
`Once recorded, samples can be edited, played back, or looped (i e. played back continuously). Types ofsamples include:
`Loops
`.
`.
`.
`Main article. Musro loop
`
`[edit]
`
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`B9i'15i"2B11 95:33:92 PM
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`---~~- -~----~ -~~r~
`The drums and percussion parts ofmany modern recordings are really a variety of short samples of beats strung together. Many
`libraries of such beats exist and are licensed so that the user incorporating the samples can distribute their recording without
`paying royalties Such libraries can be loaded into samplers Though percussion is a typical application oflooping, many kinds
`of samples can be looped. A piece ofmusic may have an ostinato which is created by sampling a phrase played on any kind ofinstrument. There is sottware which specializes in
`crealirig luups.
`
`-an
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`surnpuiig
`
`Frowemslrsferrmgfo rnimia? See rwedra help.
`
`[edit]
`
`Musical instruments
`Whereas loops are usually a phrase played on a musical instrument, this type of sample is usually a single note. Music workstations and samplers use samples ofmusical
`instruments as the basis oftheir own sounds, and are capable ofplaying a sample back at any pitch. Many modern synthesizers and drum machines also use samples as the basis of
`their suurids. (See sairipls-based synllissis fur inure infurinaliun) Must such sarnplss are created in piufsssiurial rsuuidiiig sludius using wuild-class irislrunisrils played by
`accomplished musicians. These are usually developed by the manufacturer ofthe instrument or by a subcontractorwho specializes in creating such samples There are businesses
`and individuals who create libraries ofsamples ofmusical instruments. Of course, a sampler allows anyone to create such samples.
`Possibly the earliest equipment used to sample recorded instrument sounds are the Chamberlin, which was developed in the 192103, and its better—known cousin, the Mellotron,
`marketed in England in the 1950s. Both are tape replay keyboards, in which each key pressed triggers a prerecorded tape loop ofa single note.
`Musicians can reproduce the same samples of break beats like the "Amen" break which was composed, produced and mastered by the Winston Brothers in 1950s. Producers in the
`early 1990s have used the whole 5.56 second sample; but music workstations like the |»<org Electribe Series (EM-1, ES-1, EMX-1 and the ESX-1) have used the "Amen" kick, hi hat and
`snare in their sound wave libraries for free use. Sampler production companies have managed to use these samples for pitch, attack and decay and DSP effects to each drum sound
`These features allow producers to manipulate samples to match other parts ofthe composition.
`Most sample sets consist of multiple samples at different pitches. These are combined into keymaps, that associate each sample with a particular pitch or pitch range. Often, these
`sample maps may have different layers as well, so that different velocities can trigger a different sample.
`Samples used in musical instruments sometimes have a looped component An instrument with indefinite sustain, such as a pipe organ, does not need to be represented by a very long
`sample because the sustained portion ofthe timbre is looped. The sampler (or other sample playback instrument) plays the attack and decay portion ofthe sample followed by the
`looped sustain portion for as long as the note is held, then plays the release portion ofthe sample. A common standard format for generating such sample sets is the SoundFont
`protocol.
`
`[edit]
`Resampled layers of sounds generated by a music workstation
`To conserve polyphony, a workstation may allowthe userto sample a layer ofsounds (piano, strings, and voices, for example) so they can be played together as one sound instead of
`three This leaves more ofthe instruments' resources available to generate additional sounds
`
`[edit]
`Recordings and popular examples
`There are several genres of music in which it is commonplace for an artist to sample a phrase ofa well-known recording and use it as an element in a new composition Awell-known
`example includes the sample of Queenr'David Bowie's "Under Pressure" (19B1) in Vanilla lce's ''Ice Ice Baby" (1999) Some ofthe earliest examples in popular electronic music were
`from Yellow Magic Orchestra ,[2]l3] such as "Computer Game I Firecracker" (1978) sampling a Martin Denny melodym and Space lnvaderslsl game sounds,[4l while Tec.I’inodeli'c (1981)
`was one ofthe firsl albums to feature mostly samples and loops "3"
`On MC Hammer's album Pfease Hammer, Don? Hurt ‘Em, the successful single "U Can‘t Touch This" sampled Pick .James'19B1 "Super Freak" "Have You Seen Her" was a cover of
`the Chi-Lites and "Pray" sampled F'rince's "When Doves Cry" as well as Faith No More's "We Care a l_ot".[E"] "Dancin' Machine" sampled The Jackson 5, "Help the Children" interpolates
`Marvin Gaye‘s "Mercy Mercy Me (The Ecology)", and "She's Sofi and Wet" also sampled F'rince's "Sofi and Wet".["] Hammer's previous album and future albums would continue to
`sample music, although not as notable as this album did.
`The lsley Brothers‘ song Between The Sheets is a song heavily sampled by many different artists, most notably Notorious BlG's Big Poppa, and Gwen Stefani's Luxurious.
`in many cases, artists evenyoin the original artist or receive permission to sample songs such as Coolio did for "Gangsta's Paradise" It sampled the chorus and music ofthe song
`"Pastime Paradise" by Stevie Wonder (19.78) Wonder performed the song with Coolio and L\/' at the 1995 Billboard Awards Notably, much of Coo|io‘s album excessively sampled
`other artists; including "Too Hot" (contains an interpolation of "Too Hot", originally performed by Kool &The Gang), Cruisin'" (contains an interpolation of "Cruisin‘", originally performed
`by Smokey Robinson &the Miracles), "Sumpin' New" (which contains samples of both "Thighs High (Grip Your Hips More)" performed by Tom Browne and "Wikka Wrap" performed by
`
`

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`The Evasions), "Smilin"' (contains an interpolation of "You Caught Me Smiling", originally performed by Sly 8; The Family Stone), "Kinda High, Kinda Drunk" (contains interpolations of
`"Saturday Night" and "The Boy: in Da Hood"), "For My Sistas" (contains an interpolation of "Make Me Say lt Again Girl", originally performed by The lsley Brothers), "A Thing Goin'
`On" (contains an interpolation of "Me 3; Mrs. Jones"), "The Revolution'' (contains an interpolation of "Magic Night"), "Get Up, Get Down" (contains an interpolation of "Chameleon",
`originally performed by Herbie Hancock),["] and the first line of "Gangster's Paradise" is taken from Psalm 23.lQ]
`Another example is in 1997, when Sean Combs collaborated with Jimmy Page of Led Zeppelin on the song "Come with Me" torthe Godzllla film. The track sampled the Led Zeppelin
`song "Kashmir" (approved by Jimmy Page). "l'|| Be Missing You" sampled the melody and some ofthe lyrics from The Police's "Every Breath You Take" from 1993. The single also
`borrows the melody from the well—known American spiritual "l'|| Fly Away " Combs went on to perform it with Sting and Faith Evans on the MTV Video Music Awards By the late 1990s,
`"Puffy" was receiving criticism forwatering down and overly commercializing hip—hop and overusing guest appearances by other artists, samples and interpolations ofpast hits in his
`own hit songs.“°]l"” The Omen parodied this phenomenon in a I997 article called "New rap song samples "Billie Jean" in its entirety, adds nothing "[12]
`Artists can otten sample their own songs in other songs th