Famously etched on the B-side of the UK 7" and 12" vinyl release of The Smiths' single "Bigmouth Strikes Again" (a B-side song on the classic The Queen is Dead), the quote in the subject line (credited to Oscar Wilde) sums up singer Morrissey's feelings on the place of plagiarism in music and art. Moz fleshes out this position in the closing song on the A-side, the rhythmically pleasant "Cemetry Gates", stating:
"A dreaded sunny day
so I meet you at the cemetery gates
Keats and Yeats are on your side
while Wilde is on mine...
You say: "ere thrice the sun done salutation to the dawn"
and you claim these words as your own
but I've read well, and I've heard them said
a hundred times, maybe less, maybe more
If you must write prose and poems
the words you use should be your own
don't plagiarise or take "on loans"
there's always someone, somewhere
with a big nose, who knows
and who trips you up and laughs
when you fall
who'll trip you up and laugh
when you fall"
What Morrissey seems to be saying here is that conscious copying of other's works is common artistic practice which should not be sanctioned, for the sake of art. This claim is highly relevant in the new era of bastard pop (mashups) and other musical genres that depend on extensive sampling of released material (hip-hop, electronica, classical music etc.). For example, Gregg Gillis a.k.a. Girl Talk, music producer and mashup new poster boy's critically acclaimed 2006 release titled "Night Ripper" contained songs composed almost entirely of songs from other artists. Gillis' work is perhaps the world record holder for copyright violations per number of possible plaintiffs, as he uses unlicensed sources, although the artists and songs are credited on the liner notes. For this reason, some music stores refused to sell Night Ripper. As far as I know, Gillis hasn't been sued yet, and he might have even succeeded in arousing congressional interest in the ways copyright laws and music licensing hinder art.
I haven't done any extensive reading on the Canadian legal position re: plagiarism in music. I did find one Ontario Supreme Court case, Gondos v. Hardy, 38 O.R. (2d) 555, which contains an excellent summary of the law on the point. The current legal position seems to be that copyright infringement is established if there is sufficient objective similarity between the infringing work and the copyright work, and that the copyright work must be the source from which the infringing work is derived. Also, it does not matter whether the copying is conscious or unconscious, so long as there is a causal link.
Of course in a situation like Gillis encountered where it would be impracticable to obtain permission to use copyrighted work, the fair use defence might avail the infringer. However, in the final analysis, one wonders whether the time has come to recognize a "common artistic practice" exemption at least for those who ply the music sampling trade, a la Morrissey?
If you don't own The Queen is Dead, go here immediately. Or you're welcome to listen to the entire Smiths catalogue at my place, on vinyl.
Read my music blog.
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