Can you own the feeling of a track? Thomas Cox argues that dance music needs to define its own understanding of ownership and inspiration.
Anyone with an interest in music should pay attention to the broader implications of a California federal jury ruling in favour of the Marvin Gaye estate in a lawsuit claiming that Robin Thicke’s 2013 hit single ‘Blurred Lines’ plagiarised Gaye’s dance classic ‘Got To Give It Up’.
It may be too early to draw conclusions about the long-term legal impact of the case – Williams and Thicke’s lawyers have already confirmed that the duo will contest the verdict, while legal experts argue that the ruling is an interpretation of existing laws and doesn’t set any new legal precedent – but this isn’t just a legal matter. The surrounding debate raises huge questions about the nature of musical inspiration and the acceptability of drawing on existing music as an influence.
The debate raises huge questions about the nature of musical inspiration and the acceptability of drawing on existing music as an influence.
The legal details of the case have been well covered elsewhere, so there’s no need to repeat the details here (Dan Bogosian’s article for Flavorwire is a good analysis from a music theory perspective), but the crucial point to consider is that many of the arguments in the trial revolved around the question of feeling.
Even with just a cursory listen, one can hear that any similarities in the two songs are purely cosmetic. ‘Blurred Lines’ was obviously made as a homage to the classic Gaye cut, but there are no samples used. Any real songwriting similarities are nonexistent: the songs are not in the same key; the lyrics and delivery aren’t close; the tracks don’t even use similar harmonies or melody lines. The only things that line up are strictly in the realm of instrumentation and production ideas, which is something that should really frighten any producer of hip-hop or electronic music. “Feel, but not infringement” was Williams’s explanation of how ‘Got To Give It Up’ inspired ‘Blurred Lines’. “I must’ve been channeling that feeling, that late-70s feeling.” If crowd noise and a few shouts of “woo!” layered over a 120bpm four-on-the-floor beat is copyrightable, most dance music producers are in trouble.
The impact of sampling on dance music is obvious. Would drum and bass have existed if the Amen break was off limits? Even worse, Baltimore club music was birthed from the abuse of two breakbeats, the Think and the Sing Sing. While both of these genres skirt the legal issue by remaining well underground, the reuse of old sounds and ideas is directly obvious here in making something that really sounds nothing at all like the original songs the breakbeats were taken from. But what if just sounding superficially similar to an existing song was off limits, either in legal or moral terms?
what if just sounding superficially similar to an existing song was off limits, either in legal or moral terms?
Dance music as a whole, and electronic music in general, thrive from the ability to take these production flourishes and create entire subgenres from them. Where exactly is one supposed to draw the line when taking inspiration? Especially when that inspiration is more of a feeling than any specific melody or harmony, this is a very serious question.
Many people bemoan the genrefication of electronic music, but music is like books or film in this regard: there are only so many ways one can write a vampire story before it is no longer a vampire story. Similarly, there are only so many kinds of sounds one can put in a house music song before it is no longer house music. A style like drum and bass is even more restrictive, requiring similar tempo, production aesthetic, and sounds to be part of the culture of that genre of music. This has good and bad implications in the creation and continuation of electronic music. The fact that cultures and communities have used the music as their foundation is an obvious place to begin the discussion about the good, while the proliferation of Larry Heard, Kerri Chandler and other old-school house knock-offs over the past decade show the lack of creativity that can arise when sounds are abused in a derivative way.
Jeff Mills imitators are part of what led to the rise and eventual downfall of mid-to-late-90s drummy techno, due to the deluge of soundalikes flooding the market. Metro Area’s early catalogue was based on repurposing the sounds and machines of Italo Disco and Boogie Funk instrumentals into house music. 4 Hero have said in the press that they admire and take great influence from the arrangements of the great Charles Stepney, but their electronically assisted broken beats are clearly not the same as his completely analogue soul. All of J Dilla’s catalogue could basically be torn apart and found to have either sampled or taken ideas from any number of other songs, but flipping them into his distinctive take on hip-hop. There are so many more examples, too. Even putting aside any legal arguments, where should we draw the line morally in terms of inspiration?
The problem is exacerbated by the fact that the world of dance music is self-policing to some extent; rip off someone’s track and they’ll usually resolve the grievance without involving the courts (it’s a precedent that goes back at least as far as 1988, when Kevin Saunderson took umbrage at Todd Terry for ripping off ‘The Sound’ on ‘Back To The Beat’).
the world of dance music is self-policing to some extent
I keep hearing the defence of this verdict from the dance music public which is somewhere along the lines of, “What we do is underground, so it doesn’t matter anyway.” Let’s look at an example that should dispel this attitude. Maya Jane Coles blew up a few years back with her track ‘What They Say’. The moment I heard it the first thing that popped into my mind was: “Wow, this takes ripping off MK tracks to a whole new level.” She basically appropriates the entire style in which he made music, including specific sounds and instrumentation. And of course that song went on to be sampled recently by Nicki Minaj on ‘Truffle Butter’, from the multi-million-selling album The Pinkprint. Now that Coles is (presumably) making significant money from the sample, does MK have the right as well as a reason to sue? It’s a ridiculous question, but one that clearly cannot be written off at this point in time.
The entire genres of house and techno rely heavily on the relatively limited palette of the Roland TR-909 drum machine and a few other staple sounds. Both of these genres are of course rooted in the tradition of black music, which in recorded form can be followed back at least one hundred years. Examining the progress of this music shows many genres which are heavily reliant on similar sounds, instrumentation, and vibes. Starting with the blues, which uses a relatively simple harmony that has been absolutely pillaged by every single genre that has come since. Moving through reggae, disco, funk and many other genres, one can see the importance of taking an idea or a basic building block and using it to make new music, either in terms of sounds or feeling. Jazz is considered to be one of the great American artforms, and it revolves around the playing of standards which every jazz player is expected to know. Specific versions of certain standards as performed by iconic artists have now themselves become the standard by which that song is played. Moving into sample-based music, the examples are far too numerous to even begin with, but hip-hop, house and techno music are amongst the genres most closely tied to older music that has been repurposed.
What exactly do we require for music within electronic genres to be considered 'new'?
If sounds and feelings of tracks can be considered to be owned by particular artists, how should we treat artists who make use of widely available sounds? Two of Pharrell’s most famous productions (as part of The Neptunes) were based around synth presets: the Korg Triton percussion kit for The Clipse’s ‘Grindin’’ and a Korg 01/W clav preset for Noreaga’s ‘Superthug’. If other artists use those presets, the feeling will be undeniably similar. Should producers avoid sounds that have been used by other artists for fear of being accused of plagiarism?
What exactly do we require for music within electronic genres to be considered ‘new’? No form of music has ever been held to such a standard, much less one that has so much potential for reframing and reimagining existing music. The rules – whether they’re officially codified laws or community-defined moral standards – should exist to stop true copycats from getting around licensing a song or covering it, as opposed to trying to dictate how an artist can take and use inspiration from an existing piece of music. Most people seemed content with the situation as it was, where specific sounds, vibes, and feelings were open to wide use, with only the direct lifting of melodic and harmonic content being off limits. The more limits put on what counts as creativity, the worse the music will be.
Thomas Cox has been causing trouble on teh interwebs since 1996 and representing Pittsburgh, Pennsylvania since birth. Check out his grade A retweet game on Twitter.
05.24 PM
I really appreciate the writers Attack manages to feature. These aren’t even interviews, and those are great!
Thanks Attack, keep up the great work. I come here every day! <3
06.40 PM
One of the better articles I’ve read in our scene
10.27 PM
Yes I’m glad im seeing articles that really address the core matter of the lawsuit instead of a lot of people I know choosing sides based on how they feel about a questionable song both in terms of morality and originality. What I really am glad to see is bigger questions about influence and genre standards and how we treat sampling and what defines plagiarism. Peter Kirn over at CDM wrote another fantastic colum on this lawsuit and articles like these really help people understand the broader implications of this ruling and the social atmosphere around things like this.
10.57 PM
No doubt this verdict was ridiculous.I hope the Gaye estate gets sued by Chuck Berry and the blues musicians before him – after all “Got to give it up” is based on a rather simple blues progression.
What i don’t get at all is how could this be a *jury* decision ? A jury of LAYMEN ?!
Only in America..
05.09 AM
Have you heard the presets styles on the Yamaha QY70 .. How long until gear manufacturers get a lawsuit if this particular lawsuit sticks?
03.36 AM
and there was also the Sam smith/Tom petty case. Could be cheAper to be used than to pay for all of that advertising
03.38 AM
*cheaper to be sued
03.22 PM
Typo alert – “causing trouble on teh interwebs” – and…
I completely agree with the sentiment here – in fact this article summarizes the essence (dare I say feeling…) of the whole debate – at least from where I see artists standing.
Now I don’t want pseudo-Intellectual Copyright Restrictions (pseudo; inferring how can anyone “own” an idea, which is the conversation at hand) BUT – to say such limitations would cause music to “devolve” – I use devolve because better/worse is highly subjective – is to ignore the fact that great Art is made under restrictions! What kind of paradigm shifts might occur if Artists were cut off from all of their former sources of influence? What would happen to our concepts of pitch/harmony and melody? I think such artists as Cowell, Schoenberg, Xenakis were all pushing against paradigms – what about Luigi Russolo – was he worried about public opinion and current trends – no he was causing riots (Stravinsky’s Rite of Spring anyone?).
Do we need legal precedence stating Fascists limits (Sorry Russolo futurism was closely tied with Fascism) – no we don’t!
But could we all stand to push outside our paradigms? Yes! Why can’t Pharrell make a top 40 based on serialism??? Better yet why can’t the next dance-floor killer eschew form altogether? More and more I believe we are so let’s take a stake now! Forget worrying about similitude lets strive for disparate!
Then let the courts pick us apart for being “too dissimilar” – that’s a ruling I’d be proud to represent.
11.05 PM
Great article once again.
02.46 AM
Great article.
It’s very difficult to see how a jury of peers can make decisions about the feeling of music. How can something so intangiable really be legislated against?
By the way Osro, I think the ‘typo’ is intended (see http://en.wikipedia.org/wiki/Leet#Terminology_and_common_misspellings)
09.19 PM
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Schofield Revolver Black .45 LC 5 inch 6 rd Walnut GripsCharter Arms Undercover Revolver .38SPL 2-inch SS 5RDRuger Wrangler OD Green .22 LR 4.6″ Barrel 6-RoundsSmith and Wesson 442 Matte Black .38 SPL 1.8725-inch 5RdTaurus 605 .357 Mag 2-inch 5Rd Fixed SightsHeritage Firearms Rough Rider Small Bore Blue .22 LR 16″ 6 RD Fixed SightsTaurus 856 Ultra Lite 38 Special Hammerless 38SP BLK 2-inchHeritage Firearms Rough Rider Blued / Cocobolo Grip .22LR 6.5-inch 6Rd
Taurus 856 Stainless .38 SPL 2″ Barrel 6-RoundsSig Sauer MPX Copperhead Coyote Tan 9mm 3.5-inch 20RdsRuger American Compact 9MM Black 3.55-inch 17rd with safetySmith and Wesson 637 .38 SPL P 1.875 In 5 Rds StainlessRuger SP101 Standard Stainless .357 Mag 2.25″ Barrel 5-RoundsRuger SP101 Standard Stainless .357 Mag 2.25″ Barrel 5-RoundsSmith & Wesson 642 Stainless Centennial .38 SPL 1.875-inch 5RdGlock 19 Gen 5 9mm 4.02-inch Barrel 10-Rounds Fixed SightsSig Sauer P938 9mm 3-inch 7rds Black Siglite Night Sights Massachusetts CompliantSig Sauer P226 Full Size Legion RX Gray 9mm 4.4″ 15-Round Night SightsGlock 36 Gen 3 Black 3.78-inch .45 ACP 6RdGlock 19 Gen5Flat Dark Earth 9mm 4.02″ Barrel 15-RoundsGlock 45 MOS 9mm 4.02-inch 17Rds Fixed SightsGlock 45 Gen 5 9mm 4.02-inch Barrel 17 Rounds with Fixed SightsGlock 19x Coyote Tan 9mm 4.01-inch 10RdsRuger American Pistol 9mm 4.2 Inch 17RdSig Sauer P210 Target Nitron/Walnut 9mm 5-inch 8rdSig Sauer P365 SAS 9mm 3.1″ Barrel 10-Rounds with Tritium Night SightsSmith and Wesson SD9VE Stainless 9mm 4-inch Barrel 16 Rounds with Fixed SightsGlock 17 Gen 5 Full Size 9MM 4.49-inch Barrel 17-Rounds Fixed SightsRuger PC Charger 9mm 6.5″ Barrel 17-RoundsGlock 17 Gen 3 Black 9mm 4.49-inch 17Rd Fixed SightsGlock 19x Gen 5 Coyote Tan 9mm 4.01″ Barrel 19-RoundsSig Sauer P320 XCompact 9mm 3.6″ Barrel 15-Rounds Night SightGamo Red Fire Pellet .177 150 PkCrosman LUM .177 Premier Domed Field 10.5g Target Pellets in a Tin (500 Count)Gamo Ts 22 Pellets .22 Cal 200/pk
Walther RWS Flobert .22 L.R. 6mm BB Cap Conical 150RdsGamo Red Fire Pellet .177 150 PkGamo 632300054 Viper Express .22 Caliber Pellets Airgun Shot Shells 25 CountFederal Top Gun 12GA 2.75-inch 1oz #7.5 Shot 25Rds
Federal WF1332 SPDSHk 12 13/8 STL 25 Rounds Per BoxEstate Cartridge SS12XH17512 Super Sport Target 1oz 25rdsFederal Premium Prairie Storm 12 GA 3 Inch 1 5/8 oz #4 Lead Shot 25RdsFederal Speed-Shok 12 GA #4 Shot 25-Rounds 3″Federal Prairie Storm 16 GA #6 Shot 25-Rounds 2.75″Hornady American Gunner 12 GA Rifle Slug 5-Rounds 2.75″Remington P1235M4 12 4 Turkey 10/10Winchester Turkey L BEARD 12GA 3\#6Federal Black Cloud 12 Ga 3.5 In 1-1/2 ozWinchester STH2034 SUPRM-HV Turkey 10/10Winchester XSC123t PlateD 3MG STL 25rdsWinchester X12P4 PHEASANT 1.25 25 Rounds Per BoxWinchester ROOSTER PHEASANT12 23/4 #6Federal PowerShok Buckshot 20 GA 2.75-inch Max Dram 3 Buck 5RdsFederal Top Gun Sporting 12 Gauge Ammunition 2-3/4″Hornady American Whitetail 12 Gauge 5-Round Box Slug Shot 2.75″Fiocchi Hunting 12 Ga. 3″ 1 1/8 oz, #BB Steel ShotWinchester ROOSTER PHEASANT12 23/4 #6Federal PowerShok Buckshot 20 GA 2.75-inch Max Dram 3 Buck 5RdsHornady SST FTX Shotshell Slug Loads 12 GA 5-Rounds 2.75″ 300 GrainRemington Premier AccuTip 221FB 50GR BT 20rdsFederal American Eagle Brass .308 Win 150-Grain 20-Rounds FMJBTFederal PWRSHK 300WIN 150GR SP 20rdsFederal American Eagle XM 5.56 NATO 62 Grain 20-Rounds FMJBTFederal Game-shok .22 LR #12 Bird Shot 50-RoundsHornady Frontier Cartridge Rifle Ammo Brass 5.56 20-Rounds 55 Grain FMJSpeer Gold Dot Nickel Plated Brass .223 Rem 55-Grain 20-Rounds SPFederal BallistiClean Brass .223 Rem 55-Grain 20-Rounds FrangibleFederal XM193BK 5.56 NATO 55GR BTMC 1000Rds CaseHornady Critical Defense .223 Rem 55gr 20-Rounds FTXBarnes Bullets 21520 223 55 TSX 20rdsBarnes Bullets BB552X1 Vor-Tx Rifle AmmunitionCCI/Speer CCI Shotshell 22WMR 52 Grain Shotshell #12 20/BX 2000/CSFederal Premium Prairie Storm 12 GA 3 Inch 1 5/8 oz #4 Lead Shot 25RdsFederal Speed-Shok 12 GA #4 Shot 25-Rounds 3″Federal Prairie Storm 16 GA #6 Shot 25-Rounds 2.75″Hornady American Gunner 12 GA Rifle Slug 5-Rounds 2.75″Remington P1235M4 12 4 Turkey 10/10Winchester Turkey L BEARD 12GA 3\#6Federal Black Cloud 12 Ga 3.5 In 1-1/2 ozWinchester STH2034 SUPRM-HV Turkey 10/10Winchester XSC123t PlateD 3MG STL 25rdsWinchester X12P4 PHEASANT 1.25 25 Rounds Per BoxFiocchi 12SD78H75 Target 7/8 25rdsFederal Top Gun 12GA 2.75-inch 1oz #7.5 Shot 25RdsFederal WF1332 SPDSHk 12 13/8 STL 25 Rounds Per BoxEstate Cartridge SS12XH17512 Super Sport Target 1oz 25rdsFiocchi Hunting 12 Ga. 3″ 1 1/8 oz, #BB Steel ShotWinchester ROOSTER PHEASANT12 23/4 #6Federal PowerShok Buckshot 20 GA 2.75-inch Max Dram 3 Buck 5RdsHornady SST FTX Shotshell Slug Loads 12 GA 5-Rounds 2.75″ 300 GrainFederal Top Gun Target Load 12GA 2.75-inch 1oz #8 Shot 25RdsFiocchi Speed Steel Warlock Steel 12 GA 3″ 1 1/5 Oz 2 Shot 25 per BoxHornady American Whitetail 12 Gauge 5-Round Box Slug Shot 2.75″Winchester Deer Season High Velocity 12 GA 2.75″ 5-Rounds SlugFederal Vital-Shok Premium 20 Pellet 3 Buck Shotshell Ammo 20 GA 5-Rounds 2.75″Winchester Super Target 12GA 2.75-inch 1-1/8oz #8 Shot 25RdsSig Sauer Elite Performance 9MM 124GR V-Crown JHP 20RdsSpeer Lawman Brass 9mm 115 Grain 50-Rounds TMJRemington Premier AccuTip 221FB 50GR BT 20rdsFederal American Eagle Brass .308 Win 150-Grain 20-Rounds FMJBTFederal PWRSHK 300WIN 150GR SP 20rdsPMC Ammunition Bronze Full Metal Jacket Boat Tail 55 Grain Brass .223 Rem 20RdsFederal American Eagle XM 5.56 NATO 62 Grain 20-Rounds FMJBTFederal Game-shok .22 LR #12 Bird Shot 50-RoundsHornady Frontier Cartridge Rifle Ammo Brass 5.56 20-Rounds 55 Grain FMJSpeer Gold Dot Nickel Plated Brass .223 Rem 55-Grain 20-Rounds SPFederal XM193BK 5.56 NATO 55GR BTMC 1000Rds CaseHornady Critical Defense .223 Rem 55gr 20-Rounds FTXPMC Ammunition X-Tac Match Brass .223 Rem 77 Grain 20-Rounds OTMBarnes Bullets 21520 223 55 TSX 20rdsBarnes Bullets BB552X1 Vor-Tx Rifle AmmunitionCCI/Speer CCI Shotshell 22WMR 52 Grain Shotshell #12 20/BX 2000/CSA-Zoom Snap Cap Revolver Training Rounds .357 MagTruglo TG7630G Laser SIGHT MICRO-TAC GRN.22 Hornet – Hornady Cases9mm 9×19 Ammo 115gr FMJ Remington Military LE Training (B9MM3) 500 Round Case