The Legal Infrastructure for Copyright in the Early 21st Century

Five years ago, Robin Thicke and Pharrell Williams finally lost the (musical) lawsuit of the century. Their song, “Blurred Lines,” had been an inescapable summertime hit, a wedding-DJ-standby, and the center of a very Obama-Era debate over whether it was creepy to have a song called “Blurred Lines” in the first place (it was.) Now, it was also found to have violated IP owned by Marvin Gaye’s estate, specifically the classic song “Got To Give It Up”—a brilliant track that VIBED a lot like “Blurred Lines” without sharing much, if any, direct musical DNA. It was a bombshell.

In the years since, the music industry has changed. Songwriters became more cautious, backroom deals were struck, catalogs got bought, and everyone accused Ed Sheeran of stealing their songs.  But why was the lawsuit actually decided in favor of Gaye? And what does that tell us about the legal structures that shape modern music? To get a better sense, Saxon and Sam dig into the details of the case, unpacking the epically unmoored nature of modern copyright, the invisible impact of sampling, the music biz negotiations that followed the ruling, and the AI possibilities hurtling at us all. Come to hear us try and remember what 2013 sounded like. Stay for some beautiful—and we mean beautiful—depositions.