{"id":8567,"date":"2026-05-05T00:42:29","date_gmt":"2026-05-05T00:42:29","guid":{"rendered":"https:\/\/empire-music.net\/index.php\/2026\/05\/05\/the-rolling-stones-paint-it-black-owner-settles-with-paint-company-over-instagram-ad\/"},"modified":"2026-05-05T00:42:29","modified_gmt":"2026-05-05T00:42:29","slug":"the-rolling-stones-paint-it-black-owner-settles-with-paint-company-over-instagram-ad","status":"publish","type":"post","link":"https:\/\/empire-music.net\/index.php\/2026\/05\/05\/the-rolling-stones-paint-it-black-owner-settles-with-paint-company-over-instagram-ad\/","title":{"rendered":"The Rolling Stones \u2018Paint It, Black\u2019 Owner Settles With Paint Company Over Instagram Ad"},"content":{"rendered":"

A significant legal dispute concerning intellectual property rights in the digital advertising landscape has concluded with ABKCO Music & Records reaching a confidential settlement with Behr Paint. The lawsuit, filed by ABKCO, the administrator of The Rolling Stones\u2019 early catalog, alleged that Behr Paint utilized an unlicensed version of the iconic 1966 chart-topper \u201cPaint It, Black\u201d in a social media commercial post on Instagram. The resolution, marked by a joint notice of settlement filed on Monday, May 4, underscores the escalating vigilance of music rightsholders in protecting their valuable assets against unauthorized commercial use across burgeoning digital platforms. While the specific terms of the agreement remain undisclosed, ABKCO had previously asserted in its complaint that synchronization licenses for a track of \u201cPaint It, Black\u201d\u2019s caliber typically command fees ranging from hundreds of thousands to millions of dollars, highlighting the substantial financial stakes involved in such copyright infringement cases.<\/p>\n

The Genesis of a Classic: \u201cPaint It, Black\u201d and The Rolling Stones\u2019 Enduring Legacy<\/h3>\n

\u201cPaint It, Black\u201d stands as one of The Rolling Stones\u2019 most indelible and culturally significant compositions. Released in May 1966 as a single, it swiftly ascended to the No. 1 position on the Billboard Hot 100 chart, marking a pivotal moment in the band’s artistic evolution. Penned by Mick Jagger and Keith Richards, the song is renowned for its distinctive sitar riff, performed by Brian Jones, which infused a then-uncommon exotic, psychedelic sound into mainstream rock music. Its melancholic lyrics, exploring themes of grief, despair, and a desire for darkness, resonated deeply with audiences, cementing its status as a counter-cultural anthem and a testament to the band\u2019s burgeoning lyrical depth beyond their blues-rock roots. The track\u2019s innovative instrumentation and dark thematic content were groundbreaking for its era, influencing countless artists and cementing its place in the pantheon of rock and roll classics.<\/p>\n

ABKCO Music & Records holds the formidable responsibility of managing and protecting the rights to The Rolling Stones\u2019 seminal early works, a catalog that includes some of the most recognizable and valuable songs in popular music history, such as "Satisfaction," "Gimme Shelter," and of course, "Paint It, Black." This catalog encompasses material released from 1963 through 1970, a period widely considered the band’s formative and most creatively fertile era. ABKCO’s ownership stems from a complex, decades-old business arrangement with the band and its original manager, Andrew Loog Oldham, which has been the subject of various legal battles and negotiations over the years. The continued financial success and cultural relevance of these compositions underscore ABKCO\u2019s rigorous approach to safeguarding these intellectual properties, ensuring fair compensation for their use in any commercial context. The enduring appeal of The Rolling Stones, evidenced by their ongoing global tours such as the ‘Stones Tour ’24 Hackney Diamonds’ (pictured performing at MetLife Stadium in May 2024), further amplifies the commercial value and licensing demand for their timeless repertoire.<\/p>\n

The Alleged Infringement: A Paint Company, a Pop Anthem, and an Instagram Post<\/h3>\n

The core of the dispute originated from a 2022 Instagram advertisement disseminated by Behr Paint. According to ABKCO’s complaint, this particular ad featured a person spray-painting furniture, with a musical accompaniment that allegedly constituted an unlicensed use of \u201cPaint It, Black.\u201d While the precise nature of the "unlicensed version" \u2014 whether it was a direct lift of the original recording, a sound-alike, or a re-recorded cover \u2014 was not detailed in public filings, the implication was that it was sufficiently recognizable to invoke the original composition and its associated commercial value.<\/p>\n

ABKCO initiated legal proceedings against Behr in November of the preceding year, asserting that the paint manufacturer had failed to secure the necessary synchronization license for the song. A synchronization license, commonly referred to as a "sync license," grants permission to pair a piece of music with visual media, such as films, television shows, commercials, video games, and, increasingly, digital content. For a song as globally recognized and monetarily significant as \u201cPaint It, Black,\u201d these licenses are meticulously negotiated and command substantial fees. ABKCO’s assertion that such licenses typically range from hundreds of thousands to millions of dollars underscores the potential financial liability Behr faced. In its initial response to the claims, Behr broadly denied any wrongdoing, setting the stage for what could have been a protracted legal battle, though ultimately, both parties opted for a confidential resolution. The Rolling Stones themselves were not directly involved in the litigation, as the ownership and enforcement of these early catalog rights rest solely with ABKCO.<\/p>\n

Navigating the Digital Soundscape: Licensing Complexities in the Social Media Era<\/h3>\n

The ABKCO v. Behr settlement highlights a critical and often misunderstood aspect of music licensing in the age of social media. The digital landscape has introduced a dichotomy in music usage that poses significant challenges for brands and content creators alike.<\/p>\n

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Individual Users vs. Corporate Accounts:<\/strong> Platforms such as Instagram and TikTok have revolutionized how individuals interact with music, offering vast libraries of pre-cleared songs available for users to soundtrack their personal videos. These extensive music catalogs are typically covered by blanket licenses negotiated between the social media platforms and major record labels\/publishers. This arrangement allows millions of individual users to freely incorporate popular music into their non-commercial content, fostering engagement and creativity.<\/p>\n

However, a fundamental distinction exists for corporate accounts and commercial entities. When a brand, company, or any entity uses music in a post designed to promote a product, service, or brand image, it transitions from personal, non-commercial use to commercial advertising. In such scenarios, the blanket licenses covering individual users typically do not apply. Instead, corporate accounts are usually restricted to a much more limited "commercial music library" provided by the platforms, or, more commonly, they are required to directly secure individual synchronization licenses from the relevant rightsholders (publishers for the composition, record labels for the master recording). This process is akin to how music licensing has traditionally operated for television commercials or film productions.<\/p>\n

The "Cracking Down" Trend:<\/strong> The music industry, acutely aware of the vast commercial potential and pervasive reach of social media, has significantly ramped up its efforts to enforce copyright and ensure proper licensing for commercial use. The ABKCO v. Behr case is not an isolated incident but rather a part of a broader, concerted crackdown by labels and publishers against brands that bypass proper licensing protocols.<\/p>\n

Several high-profile instances illustrate this trend:<\/p>\n