Activism comes in many forms. You might hold a rally, write to Congress, or fly a blimp over the NSA. Or you might use a darkly hilarious parody to make your point, like our client Modest Proposals recently did.

Modest Proposals is an activist collective that uses parody and culture jamming to advance environmental justice and other social causes. As part of a campaign shining a spotlight on the environmental damage and human toll caused by the liquefied natural gas (LNG) industry, Modest Proposals invented a company called Repaer. The fake company’s website offers energy companies the opportunity to purchase “life offsets” that balance the human deaths their activities cause by extending the lives of individuals deemed economically valuable. The website also advertises a “Plasma Pals” program that encourages parents to donate their child’s plasma to wealthy recipients. Scroll down on the homepage a bit, and you’ll see the logos for three (real) LNG companies—Repaer’s “Featured Partners.” 

Believe it or not, the companies didn’t like this. (Shocking!) Two of them—TotalEnergies and Equinor—sent our client stern emails threatening legal action if their names and logos weren’t removed from the website. TotalEnergies also sent a demand to the website’s hosting service, Netlify, that got repaer.earth taken offline. That was our cue to get involved.

We sent letters to both companies, explaining what should be obvious: the website was a noncommercial work of activism, unlikely to confuse any reasonable viewer. Trademark law is about protecting consumers; it’s not a tool for businesses to shut down criticism. We also sent a counternotice to Netlify denying TotalEnergies’ allegations and demanding that repaer.earth be restored. 

 We wish this were the first time we’ve had to send letters like that, but EFF regularly helps activists and critics push back on bogus trademark and copyright claims. This incident is also part of a broader and long-standing pattern of the energy industry weaponizing the law to quash dissent by environmental activists. These are just examples EFF has written about. We’ve been fighting these tactics for a long time, both by representing individual activist groups and through supporting legislative efforts like a federal anti-SLAPP bill. 

Frustratingly, Netlify made us go through the full DMCA counternotice process—including a 10-business-day waiting period to have the site restored—even though this was never a DMCA claim. (The DMCA is copyright law, not trademark, and TotalEnergies didn’t even meet the notice requirements that Netlify claims to follow.) Rather than wait around for Netlify to act, Modest Proposals eventually moved the website to a different hosting service. 

Equinor and TotalEnergies, on the other hand, have remained silent. This is a pretty common result when we help push back against bad trademark and copyright claims: the rights owners slink away once they realize their bullying tactics won’t work, without actually admitting they were wrong. We’re glad these companies seem to have backed off regardless, but victims of bogus claims deserve more certainty than this.

Special thanks to EFF legal intern Jack Beck, who was the lead author of this post.

Amid heavy criticism for its ties to weapons manufacturers supplying Israel, South by Southwest—the organizer of an annual conference and music festival in Austin—has been on the defensive. One tool in their arsenal: bogus trademark and copyright claims against local advocacy group Austin for Palestine Coalition.

The Austin for Palestine Coalition has been a major source of momentum behind recent anti-SXSW protests. Their efforts have included organizing rallies outside festival stages and hosting an alternative music festival in solidarity with Palestine. They have also created social media posts explaining the controversy, criticizing SXSW, and calling on readers to email SXSW with demands for action. The group’s posts include graphics that modify SXSW’s arrow logo to add blood-stained fighter jets. Other images incorporate patterns evoking SXSW marketing materials overlaid with imagery like a bomb or a bleeding dove.

One of Austin for Palestine's graphics

Days after the posts went up, SXSW sent a cease-and-desist letter to Austin for Palestine, accusing them of trademark and copyright infringement and demanding they take down the posts. Austin for Palestine later received an email from Instagram indicating that SXSW had reported the post for violating their trademark rights.

We responded to SXSW on Austin for Palestine’s behalf, explaining that their claims are completely unsupported by the law and demanding they retract them.

The law is clear on this point. The First Amendment protects your right to make a political statement using trademark parodies, whether or not the trademark owner likes it. That’s why trademark law applies a different standard (the “Rogers test”) to infringement claims involving expressive works. The Rogers test is a crucial defense against takedowns like these, and it clearly applies here. Even without Rogers’ extra protections, SXSW’s trademark claim would be bogus: Trademark law is about preventing consumer confusion, and no reasonable consumer would see Austin for Palestine’s posts and infer they were created or endorsed by SXSW.

SXSW’s copyright claims are just as groundless. Basic symbols like their arrow logo are not copyrightable. Moreover, even if SXSW meant to challenge Austin for Palestine’s mimicking of their promotional material—and it’s questionable whether that is copyrightable as well—the posts are a clear example of non-infringing fair use. In a fair use analysis, courts conduct a four-part analysis, and each of those four factors here either favors Austin for Palestine or is at worst neutral. Most importantly, it’s clear that the critical message conveyed by Austin for Palestine’s use is entirely different from the original purpose of these marketing materials, and the only injury to SXSW is reputational—which is not a cognizable copyright injury.

SXSW has yet to respond to our letter. EFF has defended against bogus copyright and trademark claims in the past, and SXSW’s attempted takedown feels especially egregious considering the nature of Austin for Palestine’s advocacy. Austin for Palestine used SXSW’s iconography to make a political point about the festival itself, and neither trademark nor copyright is a free pass to shut down criticism. As an organization that “dedicates itself to helping creative people achieve their goals,” SXSW should know better.

Every January, we celebrate the addition of formerly copyrighted works to the public domain. You’ve likely heard that this year’s crop of public domain newcomers includes Steamboat Willie, the 1928 cartoon that marked Mickey Mouse’s debut. When something enters the public domain, you’re free to copy, share, and remix it without fear of a copyright lawsuit. But the former copyright holders aren’t always willing to let go of their “property” so easily. That’s where trademark law enters the scene.

Unlike copyright, trademark protection has no fixed expiration date. Instead, it works on a “use it or lose it” model. With some exceptions, the law will grant trademark protection for as long as you keep using that mark to identify your products. This actually makes sense when you understand the difference between copyright and trademark. The idea behind copyright protection is to give creators a financial incentive to make new works that will benefit the public; that incentive needn’t be eternal to be effective. Trademark law, on the other hand, is about consumer protection. The function of a trademark is essentially to tell you who a product came from, which helps you make informed decisions and incentivizes quality control. If everyone were allowed to use that same mark after some fixed period, it would stop serving that function.

So, what’s the problem? Since trademarks don’t expire, we see former copyright holders of public domain works turn to trademark law as a way to keep exerting control. In one case we wrote about, a company claiming to own a trademark in the name of a public domain TV show called “You Asked For It” sent takedown demands targeting everything from episodes of the show, to remix videos using show footage, to totally unrelated uses of that common phrase. Other infamous examples include disputes over alleged trademarks in elements from Peter Rabbit and Tarzan. Now, with Steamboat Willie in the public domain, Disney seems poised to do the same. It’s already alluded to this in public statements, and in 2022, it registered a trademark for Walt Disney Animation Studios that incorporates a snippet from the cartoon.

The news isn’t all bad: trademark protection is in some ways more limited than copyright—it only applies to uses that are likely to confuse consumers about the use’s connection to the mark owner. And importantly, the U.S. Supreme Court has made clear that trademark law cannot be used to control the distribution of creative works, lest it spawn “a species of mutant copyright law” that usurps the public’s right to copy and use works in the public domain. (Of course, that doesn’t mean companies won’t try it.) So go forth and make your Steamboat Willie art, but beware of trademark lawyers waiting in the wings.