Blurred Lines sounds a lot like a Marvin Gaye song. Photo: Getty
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If you think Robin Thicke's Blurred Lines plagiarises Marvin Gaye, you don't understand songwriting

A jury's view that Robin Thicke and Pharrell’s Blurred Lines copied Marvin Gaye’s 1977 song, Got To Give It Up is based on a fundamental misunderstanding of what songwriting is.

Blurred Lines, the much-loathed, much-loved song performed by Robin Thicke and Pharrell Williams, sounds a bit like Got To Give It Up by Marvin Gaye. Anyone with good hearing would agree with that, surely. After all, it’s got a similar tempo, a similar feel, and they both feature a bloke singing in a high voice. The question currently being debated is whether Thicke and Williams owe sufficient debt to the Gaye track to be on the losing end of a court case which concluded yesterday. Having been found guilty of a breach of copyright, they now face a $7.4m bill for damages.

For many people, this is a no-brainer. When they hear the two songs one after the other, blaring out of a laptop speaker, they’ll state categorically that one of them – the one from 2013 – surely couldn’t have existed without the other one, from 1977. And yes, that’s probably the case. After all, the borrowing of sonic palettes is endemic in popular music – indeed, most forms of music. Thicke has frequently cited his love of Gaye’s music in interviews (although, as became clear during the case, it was Williams who actually wrote Blurred Lines). But the view that Blurred Lines plagiarises from Marvin Gaye is based on a fundamental misunderstanding of what songwriting is. Let’s be clear: these two songs are fundamentally different. They have different structures, different melodies, different chords. Were it not for the similarity of the sparse arrangement (an offbeat electric piano figure and a cowbell clanking away at 120bpm) the court case wouldn’t even have taken place. 

Yes, the two songs sound similar. But you can’t copyright the sound of something. If the implication is that you now can, there’ll be about 20,000 indie bands from the last 30 years getting extremely nervous that they’re about to hear from the Velvet Underground’s lawyer. George Michael will be getting ready to hand over his house to Earth Wind & Fire. A cataclysmic explosion of litigious activity awaits. Because, based on this ruling, everyone will end up owing money to everyone. 

The judge in the case knew this. He tried to create a level playing field by not allowing Gaye’s track to be played in court alongside Blurred Lines. Only the sheet music, and reconstructions thereof, were permitted as evidence. Lawyers for Gaye’s family had to prove to the jury some kind of link between the two tracks, despite the primary illustration of said link being ruled inadmissable.

A press release from 2013 by Gaye’s family's lawyers repeats one of the initial allegations circulating online, namely that the bassline and the cowbell patterns in Blurred Lines were stolen from Got To Give It UpThis blog post by Joe Bennett does an excellent job of describing why this certainly isn’t the case; yes, Blurred Lines uses a bass, and a cowbell, but the groove is completely different. The only similarities you're left with are the speed of the track, and the “vibe”. But there’s nothing in copyright law about “vibe”.

In the end, the case appears to have hinged on melodic fragments of Blurred Lines that were adjudged to have breached copyright. (It certainly wasn’t the dubious lyrics.) But in this blog post, written before the ruling, Dan Reitz details very nicely why a) no one has done anything wrong, and b) the worrying implications of the ruling should it go against Thicke and Williams.

“The Gayes’ musicologist,” he writes, “has chopped the music up into pieces that are so small that it would fundamentally change the process of songwriting if they won. If three common notes within a single similarly-shaped phrase is all that is needed to successfully sue someone, then the floodgates of litigation are about to swing wide open.”

Countless songs in the popular music canon have way more resemblance to each other than the two featured in this court case, but few people pick up on them, simply because they're styled differently. (Mashup artists have been making hay with this for years.) By styling Blurred Lines in a similar way to Got To Give It Up, Thicke and Williams laid themselves open to incorrect accusations of plagiarism. They tried to use the legal system to point out that “vibe” cannot be copyrighted, that “vibe” cannot be written down, but, incredibly, they contrived to be found guilty. We only have 12 notes in the musical scale, fellow musicians. Be very careful which ones you choose next. Lawyers are getting hungry.

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Labour is launching a stealthy Scottish comeback - thanks to Jeremy Corbyn and the Daily Mail

The Scottish Labour strategy is paying off - and hard evidence that it works may be more plentiful come 8 June 2017

When I suggested to a senior Scottish Labour figure earlier this year that the party was a car crash, he rejected my assertion.

“We’re past that,” he said gloomily. “Now we’re the burnt-out wreck in a field that no-one even notices anymore.”

And yet, just as the election campaign has seen Jeremy Corbyn transformed from an outdated jalopy into Chitty Chitty Bang Bang magically soaring in the polls, Scottish Labour is beginning to look roadworthy again.

And it’s all down to two apparently contradictory forces – Corbyn and The Daily Mail.

Kezia Dugdale’s decision to hire Alan Roden, then the Scottish Daily Mail’s political editor, as her spin doctor in chief last summer was said to have lost her some party members. It may win her some new members of parliament just nine months later.

Roden’s undoubted nose for a story and nous in driving the news agenda, learned in his years at the Mail, has seen Nicola Sturgeon repeatedly forced to defend her government record on health and education in recent weeks, even though her Holyrood administration is not up for election next month.

On ITV’s leaders debate she confessed that, despite 10 years in power, the Scottish education system is in need of some attention. And a few days later she was taken to task during a BBC debate involving the Scottish leaders by a nurse who told her she had to visit a food bank to get by. The subsequent SNP attempt to smear that nurse was a pathetic mis-step by the party that suggested their media operation had gone awry.

It’s not the Tories putting Sturgeon on the defence. They, like the SNP, are happy to contend the general election on constitutional issues in the hope of corralling the unionist vote or even just the votes of those that don’t yet want a second independence referendum. It is Labour who are spotting the opportunities and maximising them.

However, that would not be enough alone. For although folk like Dugdale as a person – as evidenced in Lord Ashcroft’s latest polling - she lacks the policy chops to build on that. Witness her dopey proposal ahead of the last Holyrood election to raise income tax.

Dugdale may be a self-confessed Blairite but what’s powering Scottish Labour just now is Jeremy Corbyn’s more left-wing policy platform.

For as Brexit has dropped down the agenda at this election, and bread and butter stuff like health and education has moved centre stage, Scots are seeing that for all the SNP’s left wing rhetoric, after 10 years in power in Holyrood, there’s not a lot of progressive policy to show for it.

Corbyn’s manifesto, even though huge chunks of it won’t apply in Scotland, is progressive. The evidence is anecdotal at the moment, but it seems some Scots voters find it more attractive than the timid managerialism of the SNP. This is particularly the case with another independence referendum looking very unlikely before the 2020s, on either the nationalists' or the Conservatives' timetable.

Evidence that the Scottish Labour strategy has worked may be more plentiful come 8 June 2017. The polls, albeit with small sample sizes so best approached with caution, have Ian Murray streets ahead in the battle to defend Edinburgh South. There’s a lot of optimism in East Lothian where Labour won the council earlier in May and MSP Iain Gray increased his majority at the Scottish election last year. Labour have chosen their local candidate well in local teacher Martin Whitfield, and if the unionist vote swings behind him he could overhaul sitting MP George Kerevan’s 7,000 majority. (As we learned in 2015, apparently safe majorities mean nothing in the face of larger electoral forces). In East Renfrewshire, Labour's Blair McDougall, the man who led Better Together in 2014, can out-unionist the Tory candidate.

But, while in April, it was suggested that these three seats would be the sole focus of the Scottish Labour campaign, that attitude has changed after the local elections. Labour lost Glasgow but did not implode. In chunks of their former west of Scotland heartlands there was signs of life.

Mhairi Black’s a media darling, but her reputation as a local MP rather than a local celebrity is not great. Labour would love to unseat her, in what would be a huge upset, or perhaps more realistically go after Gavin Newlands in the neighbouring Paisley seat.

They are also sniffing Glasgow East. With Natalie McGarry’s stint as MP ending in tears – a police investigation, voting in her wedding dress and fainting in the chamber sums up her two years in Westminster – Labour ought to be in with a chance in the deprived neighbourhoods of Glasgow’s east end.

Labour in Scotland doesn’t feel like such a wreck anymore. Alan Roden’s Daily Mail-honed media nous has grabbed attention. Corbyn’s progressive policies have put fuel in the tank.

After polling day, the party will be able to fit all its Scottish MPs comfortably in a small hatchback, compared to the double decker bus necessary just a few years back.

But this general election could give the party the necessary shove to get on to the long road back.

James Millar is a political journalist and founder of the Political Yeti's Politics Podcast. He is co-author of The Gender Agenda, which will be published July 21 by Jessica Kingsley Publishing.

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