L.A. Jury Awards $2.8 Million to Christian Rap Artist
Because of the time and expense involved, it is rare for any intellectual property infringement action to be tried before a jury. Recently, a case against pop star Katy Perry did just that, and resulted in a $2.8 Million verdict against Perry and her producers. The ruling is part of a growing trend of claims against big time pop song artists and is causing a great deal of concern among musicians and songwriters who are concerned that the ruling stifles creativity.
The lawsuit concerned alleged similarities between Perry’s 2013 hit song “Dark Horse” and a 2008 Christian rap song “Joyful Noise,” by Marcus Gray aka Flame. The lawsuit alleged that Perry and her collaborators copied Joyful Noise’s hook. The case was filed in 2014 and concluded with a seven day jury trial in July 2019. As discussed in our March 2019 Blogpost, a copyright plaintiff must register his or her work with the U.S. Copyright Office prior to bringing suit in Federal Court, something that Gray did by securing Copyright Registration No. PA0001900321 for “Joyful Noise.” It is worth noting that Gray did not secure copyright registration until June 3, 2014 — seven years after creation of “Joyful Noise”, and presumably very shortly before filing suit against Perry. One has to wonder if the jury’s award would have been even bigger had Gray registered the work within three months of its publication which would have entitled him to statutory damages of $150,000 per infringement, plus attorney fees.
In order to prevail in his copyright infringement claim, Gray also had to prove that Perry and her collaborators “copied” his work. Theoretically, two works could be identical and there not be infringement if the second work was independently created without the author having knowledge of the previous work. Not surprisingly, Perry and her collaborators claimed that they had never heard of “Joyful Noise” before writing and recording “Dark Horse.” But since most artists don’t live the isolated life of a Buddhist monk at the Key Monastery, factors other than an artists claim to have independently created a work must be considered. Most often this is done be the copyright plaintiff showing that the alleged infringer had access to the copyrighted work and that the works are substantially similar. Gray did so in this case by claiming that “Joyful Noise” had been widely distributed (more than 2 million YouTube views) and that there was a good chance the Perry, who started her career as a Christian musician, or her collaborators could have heard the song before writing and recording “Dark Horse.” In finding for Gray, the jury apparently believed that Perry had access and that the two works were substantially similar.
The question of substantial similarity in this case also raises significant concerns for songwriters. Western music is made up of only 12 notes, which means that there are nearly 9 trillion different combinations that can be made. A copyright plaintiff does not have to show that the works are identical, only that they are substantially similar. So if the combination of a series of notes are not identical, but close, infringement can still be found. My more experienced readers may recall the case of alleged copying by Vanilla Ice in his song “Ice, Ice Baby” of the bass line from Queen/David Bowie’s “Under Pressure.” Notwithstanding Ice’s infamous claim that his song was different because he added a beat between notes, the case was settled out of court and Queen/Bowie received songwriting credit. More recently, in 2015 Robin Thicke’s “Blurred Lines” was found to have infringed Marvin Gaye’s 1977 “Got to Give it Up,” resulting in a $7.3 Million verdict.
Many in the music industry claim that the musical elements at issue in the Perry/Gray dispute are generic. Perry’s attorney went so far as to claim that “they’re trying to own basic building blocks of music, the alphabet of music that should be available to everyone.” They argued further that the beats found in the songs are so common they can be found in tunes as standard as “Mary Had a Little Lamb.” One concern expressed is that such rulings will lead to increased litigation which they worry will stifle creativity. The concern appears to be well founded given the consistent rise in copyright infringement cases since the “Blurred Lines” ruling in 2015.
What do you think? Are the two songs “substantially similar”? Are the musical elements at issue generic? Check them out – Joyful Noise – and post your opinion!
