Tennessee becomes the first state to protect musicians and other artists against AI; NPR, March 22, 2024

  Rebecca Rosman, NPR; Tennessee becomes the first state to protect musicians and other artists against AI

"Tennessee made history on Thursday, becoming the first U.S. state to sign off on legislation to protect musicians from unauthorized artificial intelligence impersonation.

"Tennessee (sic) is the music capital of the world, & we're leading the nation with historic protections for TN artists & songwriters against emerging AI technology," Gov. Bill Lee announced on social media.

The Ensuring Likeness Voice and Image Security Act, or ELVIS Act, is an updated version of the state's old right of publicity law. While the old law protected an artist's name, photograph or likeness, the new legislation includes AI-specific protections."

Blue Moose in Topeka is among a dozen bars and restaurants being sued. Here's why.; The Topeka Capital-Journal, November 7, 2023

Keishera Lately , The Topeka Capital-Journal; Blue Moose in Topeka is among a dozen bars and restaurants being sued. Here's why.

"What other restaurants and bars are being filed against?

Among The Blue Moose Bar & Grill, 11 other restaurants and bars nationwide have been filed against by the ASCAP for copyright infringement.

Those restaurants and bars include Commonwealth (Las Vegas), Dublin Square (East Lansing, Michigan), Fable Lounge (Nashville, Tennessee), Hennessy Tavern (Laguna Beach, California), Liquid Joe's (Salt Lake City, Utah), Lonerider Brewery (Raleigh, North Carolina), Olympix Sports Bar (Houston, Texas), Slide & Ride 2 (Jackson, Tennesse), The Stetson Bar (San Antonio, Texas), The Tonidale Pub (Oakdale, Pennsylvania), and Xpose (Beaverton, Oregon)."

Ed Sheeran co-writer gets tattoo of jury’s copyright verdict; Independent, May 16, 2023

Peony Hirwani, Independent; Ed Sheeran co-writer gets tattoo of jury’s copyright verdict

"Ed Sheeran’s longtime collaborator Amy Wadge has had his “Thinking Out Loud” copyright victory verdict tattooed on her arm...

Now, Sheeran’s co-writer Wagde has had the words “independently created” inked in a typewriter-style typeface on her left arm."

The Ed Sheeran lawsuit is a threat to Western civilization. Really.; The Washington Post, May 2, 2023

 Elizabeth Nelson, The Washington Post; The Ed Sheeran lawsuit is a threat to Western civilization. Really.

"Imagine a painter in their studio, preparing for an exhibition. The painter is working on a landscape. The sky is midnight blue. The valley is Kelly green. Mountains loom in the back, a spectacular hue reflecting off a brilliant sunset. The painter reaches for vermillion and then pauses. Wait a second, they think: Does someone own the copyright to this shade of red? Am I going to get sued for this?

That would be crazy, right? Regrettably and amazingly, in the music industry the aesthetic equivalent of this thought process is no longer as insane as it sounds."

Ed Sheeran Trial: Did He Copy Marvin Gaye? Here’s What to Know.; The New York Times, April 24, 2023

Ben Sisario, The New York Times; Ed Sheeran Trial: Did He Copy Marvin Gaye? Here’s What to Know.

"A closely watched music copyright trial is set to begin Monday in federal court in Manhattan, where a jury will decide a lawsuit accusing Ed Sheeran of copying his Grammy-winning ballad “Thinking Out Loud” from Marvin Gaye’s soul classic “Let’s Get It On.”...

The music industry is keenly interested in the outcome. Over the last decade, the business has been rocked by a series of infringement suits that have involved questions of just how much or how little of the work of pop songwriters can be protected by copyright, and how vulnerable they are to legal challenges."

AI and Copyright: Human Artistry Campaign Launches to Support Songwriters and Musicians’ Rights; Variety, March 17, 2023

 Jim Aswad, Variety; AI and Copyright: Human Artistry Campaign Launches to Support Songwriters and Musicians’ Rights

"A new coalition to meet those challenges called the Human Artistry Campaign was announced at the South by Southwest conference on Thursday, with support from more than 40 organizations, including the Recording Academy, the National Music Publishers Association, the Recording Industry of America and many others.  

With a stated goal “to ensure artificial intelligence technologies are developed and used in ways that support human culture and artistry – and not ways that replace or erode it,” the organization outlined principles advocating AI best practices, “emphasizing respect for artists, their work, and their personas; transparency; and adherence to existing law including copyright and intellectual property,” which are outlined in full below. The campaign urges supporters to sign a petition to advance those principles."

'Weird Al' Yankovic wants to 'bring sexy back' to the accordion; Fresh Air, NPR, November 16, 2022

Terry Gross, Fresh Air, NPR; 'Weird Al' Yankovic wants to 'bring sexy back' to the accordion

"GROSS: What kind of permissions do you legally need now to do a song parody, the kind that you do where often it's, like, musically note for note from the original recording but, you know, the lyrics are different? So, you know, you're satirizing the lyric, but the music isn't really - the instrumentation isn't really a satire. It's the thing. It's the - sounds like the original thing.

YANKOVIC: It's a gray area in terms of legally what I need to do especially in cases like "Smells Like Nirvana" because, again, that's satire. And that's considered free speech and fair use. And if push came to shove, if it went to the courts, generally, that's - you know, the courts rule in favor of the parody artist. But I - you know, I don't go by just what's legal. I go for what I think is right. And what's right to me is always getting permission from the original songwriters and get their blessing. Because if an artist doesn't want me to do their song, I will back off. I mean, no matter what, you know, the courts or the law says, it's like, I just want to, you know, do good by them because I respect artists. And I don't ever want them to feel like I'm, you know, stepping on their toes."

Sound familiar? Taking songwriters to court; CBS News, April 3, 2022

CBS News; Sound familiar? Taking songwriters to court

"Sound familiar? Taking songwriters to court

When two songs share a melody, some chords, or even just a vibe, can the songwriter be taken to court? Correspondent David Pogue looks at how music copyrights have become an increasingly disharmonious area of litigation."

Music Copyright Infringement Is Beginning To Make Sense Again; Forbes, April 1, 2020

Bobby Owsinski, Forbes; Music Copyright Infringement Is Beginning To Make Sense Again

"But finally there is some indication that sanity may be returning to the courtroom when it comes to music copyright infringement...

This is a feel-good story if I ever heard one, except for the mental anguish and time that the people of Burbank High School had to endure. I get it that a copyright holder is trying to protect its rights. Publishers and songwriters deserve to get paid, and I don't think anyone questions that. Suing a school over a fundraiser is not going to make you many friends, however.

The bottom line is that common sense now seems to prevail when it comes to music copyright infringement cases, and it’s about time. May it continue this way for a long time."

‘Blurred Lines’ on Their Minds, Songwriters Create Nervously; The New York Times, March 31, 2019

Ben Sisario, The New York Times; ‘Blurred Lines’ on Their Minds, Songwriters Create Nervously

"“There’s no question in my mind that there has been a chilling effect,” Ms. Lepera said. “People have thrown a lot of weight behind this — more weight than it deserves. Defendants may be more inclined not to put up a fight.”

And for songwriters, the impact is still often felt when thoughts about the courtroom intrude in the studio.

“I’m not going to stop writing songs,” said Busbee, who has written hits for Keith Urban and Lady Antebellum. “But it puts a massive damper on the process, if you’re concerned that you will be sued.”"

How Aretha Franklin’s ‘Respect’ Became a Battle Cry for Musicians Seeking Royalties; The New York Times, August 17, 2018

Ben Sisario, The New York Times; How Aretha Franklin’s ‘Respect’ Became a Battle Cry for Musicians Seeking Royalties

"It was Aretha Franklin’s first No. 1 hit, the cry of empowerment that has defined her for generations: “Respect.”

But for the roughly seven million times the song has been played on American radio stations, she was paid nothing.

When Ms. Franklin died on Thursday at age 76, fans celebrated the song all over again as a theme for the women’s rights movement. But in the music industry, “Respect” has also played a symbolic role in a long fight over copyright issues that, advocates say, have deprived artists like Ms. Franklin of fair royalty payments...

[Aretha Franklin] also added what became the song’s signature line: “R-E-S-P-E-C-T / Find out what it means to me.” 

Ms. Franklin’s reinvention of Mr. Redding’s song has continued to fascinate critics. Peter Guralnick, the author of books like “Sweet Soul Music: Rhythm and Blues and the Southern Dream of Freedom,” noted that she transformed the original meaning “not so much by changing the lyrics, as by the feeling that she imparted on the song — so that ‘Respect’ became a proclamation of freedom, a proclamation of feminism, a proclamation of an independent spirit.”"

Is the threat of a copyright lawsuit stifling music?; BBC News, July 12, 2017

Chi Chi Izundu, BBC News; Is the threat of a copyright lawsuit stifling music?

"You would be hard-pushed to find a musician in the charts whose work hasn't taken inspiration from their idols and contemporaries.

Now though, music experts have told the Victoria Derbyshire programme that artists are being advised not to mention publicly who has inspired them.

This is because of a high-profile copyright infringement case in which US jurors ruled that Robin Thicke and Pharrell Williams, on their song Blurred Lines, had copied Marvin Gaye's Got To Give It Up."

Getting Your Grooves Back: Understanding Copyright Termination (Guest Column); Variety, July 10, 2017

Evan S. Cohen, Esq., Variety, Getting Your Grooves Back: Understanding Copyright Termination (Guest Column)

"There is a powerful law causing quiet yet uneasy waves in the music industry, and it’s something the record companies would rather recording artists not know about.

For recordings released after 1977, the law is a section of the Copyright Act that allows recording artists to terminate their record contracts after 35 years. It also allows songwriters to terminate their music publishing deals after 35 years. It’s usually called copyright termination, but it’s not the copyrights that are being terminated, it’s the grant of rights to the record company that is being terminated. That old, awful record contract from 1980? Gone — at least as the contract applies to the United States. On the first day of the 36th year, the band owns the recording, free and clear. That is a very powerful position, to say the least."

Paul McCartney Sues Sony to Regain Rights to Beatles Songs; Hollywood Reporter, 1/18/17

Eriq Gardner, Hollywood Reporter; Paul McCartney Sues Sony to Regain Rights to Beatles Songs

"Paul McCartney has filed suit in New York against Sony/ATV and is looking to get a declaratory judgment that states he will soon regain his copyright ownership share to a treasured catalog of songs created as a member of The Beatles.

In what could become one of the most important legal battles in the music industry this decade, the iconic songwriter is looking to leverage the termination provisions of the Copyright Act.

In 1976, Congress increased the period that works are under copyright protection, and, in recognition of authors who had signed over their rights to publishers and studios without much bargaining power, allowed such authors 35 years hence to reclaim rights in the latter stages of a copyright term."

The Man Musicians Call When Two Tunes Sound Alike; New York Times, 10/11/16

Alex Marshall, New York Times; The Man Musicians Call When Two Tunes Sound Alike:

"People often hear similarities between songs when no copying has occurred, Mr. Bennett says. That should not be a surprise. Most songwriters follow a strict set of rules — songs being three to four minutes long or having four beats to a bar — so there is actually much scope for similarity. But the truth is that many songwriters do use other people’s music for inspiration.

“Society’s become enamored by the romantic myth of creativity,” he says. “The idea that inspiration comes to us in a genius-like way from God or the spirit or whatever. Often for songwriters, that is how it feels emotionally. But, of course, every songwriter is partly a product of their influences. Allowing yourself to be influenced by a song — just not copying the melody, chords or lyrics — is perfectly fine. I mean, isn’t that what songwriting actually is?”

Mr. Oxendale agrees. “A lot of famous songs have been created using reference tracks and there’s nothing wrong with that,” he says. “There would be no Beethoven without Haydn. Who would want to have lost his music?”"

Ed Sheeran Sued For $20 Million For Allegedly Plagiarzing ‘Photograph’; Huffington Post, 6/8/16

Julia Brucculieri, Huffington Post; Ed Sheeran Sued For $20 Million For Allegedly Plagiarzing ‘Photograph’ :

"The English musician, who happens to be BFFs with Taylor Swift, is reportedly being sued for $20 million dollars over his song “Photograph,” according to Billboard.

Songwriters Martin Harrington and Thomas Leonard and their publishing company claim the song borrows heavily from their track, “Amazing,” which was released as a single by 2010 “X Factor” winner Matt Cardle. Harrington and Leonard have written hits for some of the industry’s biggest stars, including Kylie Minogue.

To help with their case, the plaintiffs are working with attorney Richard Busch, who was involved in the copyright lawsuit between Marvin Gaye’s family and Robin Thicke and Pharrell Williams over the song “Blurred Lines.” If you recall, Thicke and Williams lost the case and contested a $7.4 million jury verdict that found they plagiarized the Motown great’s “Got to Give It Up.”

The lawsuit against Sheeran says “Photograph” is too similar to the original composition of “Amazing” by Harrington and Leonard and the version recorded by Cardle. The plaintiffs claim the two songs share 39 identical notes."

Do You Love Music? Silicon Valley Doesn’t; New York Times, 5/20/16

Jonathan Taplin, New York Times; Do You Love Music? Silicon Valley Doesn’t:

"Unfortunately, there is a sad history of undervaluing musicians in the United States. Terrestrial radio, a $17 billion industry, pays publishing rights (payments to songwriters) but has never paid artists or record companies for music. In addition, the satellite radio company, SiriusXM, pays below-market royalties, thanks to a giveaway it first wrested from Congress 20 years ago. Conglomerates like iHeartMedia (formerly Clear Channel Communications) and other online services like Pandora, which are required to pay artists for digital streams, have exploited federal copyright law to deny payments for work recorded before 1972 (songwriters are paid; performers are not). This means artists like Aretha Franklin, Ella Fitzgerald, Chuck Berry and John Coltrane never received a dime from AM/FM radio and or from many digital services for some of their greatest music.

The last meaningful legislation in this area was the Digital Millennium Copyright Act in 1998, which was based on the idea that creators should monitor the Internet for illegal copies of their works and give “notice” to websites and services to take pirated material down. Under the act’s “safe harbor” provisions, any service or site that makes a minimal effort to address these notices is immune from liability for piracy or theft."

Taking Back 'Funkytown': Songwriters Prepare For A Custody Battle; NPR's All Things Considered, 9/12/13

Joel Rose; NPR's All Things Considered Taking Back 'Funkytown': Songwriters Prepare For A Custody Battle: "When Congress revised U.S. copyright law in the 1970s, it granted "termination rights" to musicians and other creators, which allow them to regain control of their works after 35 years. (The law only applies to sound recordings released in 1978 or after.) Abdo says reclaiming ownership of "Funkytown" would allow his client to earn more in licensing fees and other revenues — exactly as Congress intended. "If you have a big hit or several big hits, then all of a sudden the deal that you made early in your career doesn't seem quite fair because it was very lopsided," Abdo says. "It gives the author a chance to get a second bite at the apple."... [O]ne big hurdle artists face is the question of whether a sound recording is a "work for hire." Since the 1970s, many labels have insisted on contract language that seems to define artists as employees of the label, Slotnick says."

YouTube videos make people money, but songwriters rarely see any of it; Guardian, 11/13/12

Helienne Lindvall, Guardian; YouTube videos make people money, but songwriters rarely see any of it: "Naturally, songwriters prefer to concentrate on creating music instead of trying to decipher why their digital royalties are so low. But I decided to enquire further, and discovered that the deeper you look into the nature of digital licensing deals, the murkier the waters and that even people working at music companies were confused about them. To begin to understand why, first of all one needs to understand that the copyrights to each record are divided into two categories: the master rights for the recording, which belong to the record label/artist, and the rights to the composition, which belong to the publisher/songwriter. As YouTube marries video and audio, it requires both a performance licence and a mechanical synch licence for each category for each song. Many record labels I spoke to were shocked by how little the songwriters in my article got paid for YouTube videos."

Record Industry Braces for Artists’ Battles Over Song Rights; New York Times, 8/15/11

Larry Rohter, New York Times; Record Industry Braces for Artists’ Battles Over Song Rights:

"Congress passed the copyright law in 1976, specifying that it would go into effect on Jan. 1, 1978, meaning that the earliest any recording can be reclaimed is Jan. 1, 2013. But artists must file termination notices at least two years before the date they want to recoup their work, and once a song or recording qualifies for termination, its authors have five years in which to file a claim; if they fail to act in that time, their right to reclaim the work lapses."