Sony, Warner sue Anthropic, alleging "blatant theft" of intellectual property; Axios, August 29, 2026

 Ben Berkowitz , Axios; Sony, Warner sue Anthropic, alleging "blatant theft" of intellectual property

"Some of the world's largest music publishers filed a blockbuster lawsuit against Anthropic late Friday night, alleging "one of the largest and most blatant ongoing thefts of intellectual property in history."

Why it matters: The suit is the opening salvo in what is now likely to be a yearslong fight over music, AI, and how intellectual property is protected in a new era of technology.

Driving the news: Units of Sony Music and Warner Music filed the suit in federal court in northern California late Friday night, naming Anthropic, CEO Dario Amodei and co-founder Benjamin Mann as defendants. 

The big picture: The Sony/Warner lawsuit is notable because it's broad.

It alleges Anthropic unlawfully trained its models off "tens of thousands" of music publishers' copyrighted compositions, whereas other lawsuits have focused on a narrower set of works.

BMG's lawsuit against Anthropic, for example, claims infringement against 493 compositions."

Loving Dolly Was Easy. Understanding Her Was Hard.; The New York Times, August 27, 2026

TRESSIE MCMILLAN COTTOM, The New York Times; Loving Dolly Was Easy. Understanding Her Was Hard.

"Want to look down on her about being parochial? You will have to square that with her outstanding business acumen. At a time when women and poor people signed away their intellectual property for a shot at stardom, Dolly started a series of successful publishing companies to retain her rights."

Dolly Parton Refused a Rock Legend in 1974: ‘I Had to Keep That Copyright in My Pocket’; Parade, August 25, 2026

Melina Gray, Parade; Dolly Parton Refused a Rock Legend in 1974: ‘I Had to Keep That Copyright in My Pocket’

"Elvis Presley was going to record “I Will Always Love You,” and Dolly Parton had already said yes. Then the phone rang the night before, and it was Colonel Tom Parker, Presley’s manager, with a condition nobody had mentioned. Elvis did not record anything unless Parker’s side took half the publishing.

Parton, who died Tuesday at 80, had written the song in 1973 as a goodbye to her longtime duet partner Porter Wagoner, on the same day she wrote “Jolene.” It was one of roughly 3,000 songs she wrote, and a No. 1 country hit under her own name. Handing over half of it meant handing over what she planned to leave her family. She turned Presley down in 1974 and, by her own account, cried all night. “I had to keep that copyright in my pocket,” she later said."

Team Trump Trolls Taylor Swift With Song Use Before Copyright Claim Brings Silence; Deadline, August 8, 2026

Greg Evans, Deadline ; Team Trump Trolls Taylor Swift With Song Use Before Copyright Claim Brings Silence

"A TikTok video posted to the White House account earlier this week depicted the president and First Lady Melania Trump from behind as they watched a fireworks display in a night sky. The text over the photo read, “Mood because it’s August and Donald Trump is your president.” 

The video was accompanied by the Swift song “august,” and at the bottom of image was a note from “Team Trump” saying, “I’m sure @Taylor Swift is going to be super excited we used her song!”

The trolling was short lived though. By last night, both the song (from Swift’s Folklore album) and the teasing note were removed from the account, replaced with a message in the U.S. reading, “The copyright owner hasn’t made this sound available in your country.”"

A BILL MOVING THROUGH CONGRESS COULD CHANGE WHO CONTROLS THE US COPYRIGHT OFFICE. HERE’S WHY IT MATTERS FOR THE MUSIC BUSINESS.; Music Business Worldwide, June 4, 2026

MURRAY STASSEN , Music Business Worldwide; A BILL MOVING THROUGH CONGRESS COULD CHANGE WHO CONTROLS THE US COPYRIGHT OFFICE. HERE’S WHY IT MATTERS FOR THE MUSIC BUSINESS.

"The bill arrives in the middle of an ongoing fight over the US Copyright Office and the firing of its director.

In May 2025, the Trump administration fired top copyright official Shira Perlmutter, a day after her office released a report concluding that training AI on copyrighted works qualifies as fair use in some circumstances but not others.

The administration had first removed Carla D. Hayden, the Librarian of Congress, and installed Deputy Attorney General Todd Blanche as acting Librarian, who then moved to replace Perlmutter with Department of Justice official Paul Perkins.

Perlmutter sued the administration, arguing that only the Librarian of Congress, not the President, has the power to appoint or remove the Register of Copyrights.

A federal appeals court reinstated Perlmutter in September 2025, and she remains in the role while the legal battle continues.

That fight turns on the same question Griffith‘s bill addresses: whether the Register of Copyrights is an executive or a legislative officer...

Running alongside the legislation is the unresolved Perlmutter case.

The Supreme Court declined to act on her firing in late 2025, leaving Perlmutter in place while it weighs related disputes over the President’s power to remove officials.

Both the bill and the lawsuit circle the same question – whether the Register answers to the President or to Congress.

Griffith says a Senate-confirmed Register with a fixed term would give the office steadier leadership and clearer oversight.

Critics counter that a presidential appointee would politicize copyright and AI policy, and could disrupt the registration and deposit systems the Library of Congress depends on."

Colbert ‘Charlie Brown’ Joke Conjures Untested Copyright Theory; Bloomberg Law, May 29, 2026

 Kyle Jahner, Bloomberg Law; Colbert ‘Charlie Brown’ Joke Conjures Untested Copyright Theory

"But use of the music also touches on issues involving “synchronization rights"—a separate right to use music that appears in an audio-visual work.

The concept arose from a 1948 New York federal court case describing the form of copyright movie studios acquired in order to use music in their films. Theaters didn’t have to separately pay the performance rights organization for the right to use the songs on top of rights to play the movie because the movie producer already had paid for the right to incorporate the music into their work, the court said.

How exactly that right relates to taped television performances and rebroadcasts on TV and online isn’t well-tested. 

John Simson, a professor of IP law at American University, said there’s a broad assumption that a sync license is required to do virtually anything with a taped performance.

“Publishers in the US have taken the position that it’s a sync even if you just show video of a performance,” said Simson, former executive director of sound recording rights clearinghouse SoundExchange. “I don’t really agree with that.” 

“No one’s really gone to the mat on that” by taking a case far enough to set precedential boundaries for what kinds of re-uses of already-licensed works require a distinct sync license, he said."

STEPHEN COLBERT USES COPYRIGHTED ‘PEANUTS’ MUSIC DURING FINALE: ‘I HOPE THIS DOESN’T COST CBS ANY MONEY!’; Rolling Stone, May 22, 2026

ELISABETH GARBER-PAUL , Rolling Stone; STEPHEN COLBERT USES COPYRIGHTED ‘PEANUTS’ MUSIC DURING FINALE: ‘I HOPE THIS DOESN’T COST CBS ANY MONEY!’

"During the final episode of The Late Show, host Stephen Colbert purposely used copyrighted music during a segment, a move that could potentially cost his former bosses at CBS a lot of dough if the music was unauthorized, and the usage were to end in a lawsuit.

“Peanuts is a powerful brand and corporation in and of itself. Anyone illegally using that music is going to have to pay through the nose,” he said, before addressing his band leader, Louis Cato. “Louis, Louis! Is the band right now playing the same Peanuts music I just said people were being sued for, for using without permission? Is that what you’re doing?” The band was indeed launching into the familiar Vince Guaraldi song. “Oh no, I hope this doesn’t cost CBS any money!” Colbert said."

NANCY SINATRA SLAMS TRUMP FOR SHARING FRANK SINATRA ‘MY WAY’ VIDEO: ‘SACRILEGE’; Rolling Stone, April 20, 2026

EMILY ZEMLER , Rolling Stone; NANCY SINATRA SLAMS TRUMP FOR SHARING FRANK SINATRA ‘MY WAY’ VIDEO: ‘SACRILEGE’

"Nancy Sinatra criticized Donald Trump for posting a video of her father Frank Sinatra performing his 1969 song “My Way” on Truth Social over the weekend. 

On Saturday, the president inexplicably posted a clip of Sinatra singing the iconic tune at Madison Square Garden in 1974. One of Sinatra’s fans brought it to her attention on X, writing, “Omg, @NancySinatra will not be happy about this. Trump goes against everything that Frank stood for. He was a big champion for equality and supported the Civil Rights movement.” 

Sinatra responded, “This is a sacrilege.” After another fan asked if there was anything she could do to prevent Trump posting the song she replied, “Unfortunately no. The only people who can do something are the publishers.”

Why A Potential Supreme Court Copyright Decision Could Change The Music Business; Forbes, April 9, 2026

Bill Hochberg, Forbes; Why A Potential Supreme Court Copyright Decision Could Change The Music Business 

"There’s billions at stake for music companies and investors who may get a big hit – and not the kind they like – if the U.S. Supreme Court decides music creators and their heirs can get back their copyrights worldwide."

Taking Copyright Out to the Ball Game: A Closer Look at Baseball’s Most Famous Tunes; Library of Congress Blogs: Copyright Creativity at Work, March 26, 2026

Nicole McNew Chen, Library of Congress Blogs: Copyright Creativity at Work; Taking Copyright Out to the Ball Game: A Closer Look at Baseball’s Most Famous Tunes

"In 1908, lyricist Jack Norworth and composer Albert Von Tilzer wrote what would become one of the most recognized and most sung musical works in the United States: “Take Me Out to the Ball Game.” In a relatively short period, it was performed for the first time, registered with the Copyright Office, and published in a series of sheet music depicting vaudeville stars on the covers. The song was an instant hit, though it wouldn’t become the baseball theme we know today until much later. With Opening Day and the start of the 2026 Major League Baseball (MLB) season, we’re looking at the history of the song and copyright’s connection to America’s favorite pastime."

Federal jury rejects hymn copyright infringement claim against British composer; The Oregonian, March 20, 2026

 Maxine Bernstein, The Oregonian; Federal jury rejects hymn copyright infringement claim against British composer

"A jury in Portland on Friday found that a British composer didn’t purloin musical passages of an American composer’s Christian hymn in a case that brought both musicians into a downtown federal courtroom to play the pieces. 

The composers took turns using an electric keyboard positioned in front of the jury box during a four-day trial before U.S. District Judge Karin J. Immergut.

The eight jurors got the case Thursday afternoon and spent less than a day deliberating before returning its verdict that Bernadette Farrell of London hadn’t copied notes from Vincent A. Ambrosetti’s “Emmanuel.”"

Music copyright case in Portland focuses on 12 bars from two Catholic hymns; The Oregonian, March 18, 2026

Maxine Bernstein | The Oregonian/OregonLive; Music copyright case in Portland focuses on 12 bars from two Catholic hymns

"Two composers are dueling in court in a copyright infringement case this week in Portland over 12 bars of 26 notes in two Catholic hymns...

American composer Vincent A. Ambrosetti wrote the music and lyrics for “Emmanuel,” in 1980 and claims London-based composer Bernadette Farrell stole from his song to write her “Christ, Be Our Light,” in 1993."

Music Copyright in the Gen AI Age: Where Are We Now?; Brooklyn Sports & Entertainment Law Blog, February 11, 2026

Sam Woods , Brooklyn Sports & Entertainment Law Blog; Music Copyright in the Gen AI Age: Where Are We Now?

"Imagine you are a musician who has dedicated years of your life creating an album or EP — tinkering with the production, revising lyrics, finding the perfect samples— and now, you have finally shared your art with the world and are thrilled with the project’s success. However, while scrolling on TikTok a few months later, you hear some familiar audio. Wait a minute, is that one of your songs? No… not quite, but why does it sound so similar? Turns out, the song was created using artificial intelligence (“AI”)."

‘AN IMPORTANT STEP’: EUROPEAN PARLIAMENT ADOPTS REPORT ON COPYRIGHT AND GENERATIVE AI; Billboard, March 11, 2026

Lars Brandle , Billboard; ‘AN IMPORTANT STEP’: EUROPEAN PARLIAMENT ADOPTS REPORT ON COPYRIGHT AND GENERATIVE AI

"Two years after the European Parliament passed the Artificial Intelligence Act, MEPs this week finally adopted a report on copyright and generative AI.

On Tuesday, March 10, Parliament passed its resolution on “Copyright and generative artificial intelligence – opportunities and challenges” with an overwhelming majority of 460 votes to 71, and with 88 abstentions.

The report calls for the EU and its 27 member states to focus on the crucial issues of how AI and tech companies engage with copyright-protected music in the digital age, and explores a licensing system as a solution, paving the way for fair compensation for the use of creative works."

1970 No. 1 Hit Song Sparked the Decade’s Biggest Copyright Lawsuit; Men's Journal, February 17, 2026

 MATTHEW THOMAS, Men's Journal; 1970 No. 1 Hit Song Sparked the Decade’s Biggest Copyright Lawsuit

"On November 28, 1970, George Harrison’s “My Sweet Lord/Isn’t It a Pity” reached number 1 on the Billboard chart together. The songs would hold that top slot for 4 weeks and spend 14 weeks on the charts in total.

“My Sweet Lord” soon spawned an infamous “subconscious plagiarism” legal fight that resulted in a landmark ruling that still profoundly affects the music industry today."

‘A nasty little song, really rather evil’: how Every Breath You Take tore Sting and the Police apart; The Guardian, January 15, 2026

Ben Beaumont-Thomas, The Guardian; ‘A nasty little song, really rather evil’: how Every Breath You Take tore Sting and the Police apart

"This week’s high court hearings between Sting and his former bandmates in the Police, Stewart Copeland and Andy Summers, are the latest chapter in the life of a song whose negative energy seems to have seeped out into real life.

Every Breath You Take is the subject of a lawsuit filed by Copeland and Summers against Sting, alleging that he owes them royalties linked to their contributions to the hugely popular song, particularly from streaming earnings, estimated at $2m (£1.5m) in total. Sting’s legal team have countered that previous agreements between him and his bandmates regarding their royalties from the song do not include streaming revenue – and argued in pre-trial documents that the pair may have been “substantially overpaid”. In the hearing’s opening day, it was revealed that since the lawsuit was filed, Sting has paid them $870,000 (£647,000) to redress what his lawyer called “certain admitted historic underpayments”. But there are still plenty of future potential earnings up for debate."

What Swift fan accounts should know about copyright after Barstool's 'Taylor Watch' canceled; USA TODAY, June 12, 2025

Bryan WestNashville Tennessean, USA TODAY; What Swift fan accounts should know about copyright after Barstool's 'Taylor Watch' canceled

""'Taylor Watch' is canceled," Keegs said on the 150th episode, "because having a music related podcast or something that can toe the line with lawsuits in general where it comes to music rights, whatever, is just not feasible with Barstool Sports at this time."

One underlying issue lies in copyrighted photos, videos and music being used on social media. Several posts potentially opened parent company Barstool Sports to lawsuits, and the podcasters had two options: to cancel "Taylor Watch" or be fired."

How to Find Copyright Owners For Covers and Samples; HypeBot, April 16, 2025

Alana Bonilla , HypeBot; How to Find Copyright Owners For Covers and Samples

"Want to use a someone else’s audio legally but don’t know who owns it? This expert guide shows you how to find copyright holders fast – and get the permissions you need without the legal headaches."

Trump Loses Copyright Suit Over ‘Electric Avenue’ 2020 Campaign Video In Summary Judgement; TechDirt via Above The Law, September 27, 2024

TechDirt via Above The Law; Trump Loses Copyright Suit Over ‘Electric Avenue’ 2020 Campaign Video In Summary Judgement

"During what was essentially a multi-year advertisement for just how absolutely petty, stupid, and disingenuous a political system could possibly be, the 2020 American presidential election also featured a video sent out by the Trump campaign on social media that resulted in a copyright infringement lawsuit. You can see below a news clip that features the video, which is an admittedly fairly funny poke at his then rival, Joe Biden, but which also uses a healthy chunk of the Eddy Grant song Electric Avenue within it.

The Trump campaign used the music without permission. That appears to have pissed off Eddy Grant, who filed a copyright infringement lawsuit against the Trump campaign as a result...

In this case, however, there is no defending this through venue licenses. The song wasn’t played in a venue at all. It was played in a campaign video tweeted out by the campaign. As a result, the Trump campaign’s defense was instead fair use. And, as I detailed in my original post above, the fair use defense in this case is fairly laughable.

The judge overseeing the case apparently agrees, having found for Eddy Grant on summary judgement."

Trump campaign ordered to stop using classic R&B song; Associated Press via Politico, September 3, 2024

 Associated Press via Politico; Trump campaign ordered to stop using classic R&B song; Associated Press via Politico

"A federal judge in Atlanta ruled Tuesday that Donald Trump and his campaign must stop using the song “Hold On, I’m Comin’” while the family of one of the song’s co-writers pursues a lawsuit against the former president over its use.

The estate of Isaac Hayes Jr. filed a lawsuit last month alleging that Trump, his campaign and several of his allies had infringed its copyright and should pay damages. After a hearing on the estate’s request for an emergency preliminary injunction, U.S. District Judge Thomas Thrash ruled that Trump must stop using the song, but he denied a request to force the campaign to take down any existing videos that include the song."