As mentioned in Part II, I didn’t expect to write several posts about this litigation, but it turns out that “Blurred Lines” (Williams v. Gaye) raises several copyright issues—doctrinal, cultural, and historical—worthy of consideration and not easily condensed into a single article. In the first post, I alluded to an editorial written in 2015 by scholars Lateef Mtima and Sean ...
It hadn’t really occurred to me until last week that nearly all the cases I happen to have read or written about in the past six years entail obvious appropriations of protected works, usually invoking defenses like fair use. In the digital-tech market, many high-profile lawsuits—especially the ones that may pose an existential threat to copyright—involve new business enterprises trying ...
In what may be the most aptly named copyright case in recent history, “Blurred Lines” (properly Williams v. Gaye) is generally viewed as a mistake that many composers and songwriters fear will have a chilling effect on the craft of music-making. The headline complaint is that the outcome thus far asserts copyright protection for musical style, and, if true, this ...
