copyrighted work constitutes a fair use. The four factors are 1. the purpose and character of the use; 2.
the nature of the copyrighted work; 3. the amount of the copyrighted work used; and 4. the effect of the
use on the market for the copyrighted work.
According to the court, parody, like other comment and criticism may claim fair use. Under the first
factor, the focus is on whether the new work merely replaces the original work, or whether the new work
is a new “transformative” work, inserting new meaning and expression. The more transformative the new
work, the less important the commercial nature of the new work is considered. For parody in particular,
the heart of any parodist’s claim to quote from existing material is the use of some elements of an original
work to create a new work that comments on that author’s work. Here, 2 Live Crew juxtaposes “the
romantic musings of a man whose fantasy comes true” with degrading lyrics, a demand for sex, and relief
from paternal responsibility. The words can be taken as a commentary of the original, as a rejection of its
sentiment that ignores the “ugliness of street life and the debasement that it signifies.” This marriage of
reference and ridicule is the hallmark of parody that traditionally has enjoyed fair use protection as a
transformative work. According to the Court, the transformative nature of 2 Live Crew’s work should be
balanced against the commercial use of the work. Commerciality does not mean a presumptively unfair
use, to so hold would “swallow nearly all of the illustrative uses listed in the preamble” of the Act.
The third factor asks whether the amount of the original work used is reasonable in relation to the
purpose of the copying. The court agreed that the extent of the copying depends on the purpose of the
copying. According to the Court, parody presents a difficult case because parody’s commentary stems
necessarily from a recognizable reference to the original work. Thus, a parodist may use the most
recognizable parts of the original in its own parody of that original, but the context of the use is
important. According to the court, 2 Live Crew copied the characteristic opening bass riff of the original
and the words of the first line of the original. However, although those are the most recognizable portions
of the original, the group also departed significantly from the original lyrics, and otherwise produced
distinctive sounds, and overlaying the music with solos in different keys.
More Facts
When the owners of the Pretty Woman copyright sued 2 Live Crew, the group’s first inclination was to
withdraw the parody. The Capitol Steps, however, wanted the courts to establish once and for all that
parody is a protected form of speech. To persuade the Supreme Court to grant certiorari, the Capitol Steps
prepared an audiotape history of political parody in the United States. There is some evidence that this
tape was indeed influential in persuading the Supreme Court to grant certiorari.
If a recording of the Capitol Steps singing God Bless My SUV is no longer available from their
website (http://www.capsteps.com/), I can e-mail the MP3 file to any faculty using this text. My e-mail
address is ssamuels@bu.edu. Both the Roy Orbison and the 2 Live Crew versions of Pretty Woman are
available on http://www.benedict.com/ and can be purchased as singles from the iTunes Music Store.
General Questions:
Did 2 Live Crew and the Capitol Steps make excessive use of the original recordings?
Did they harm the market for the original?
Should Roy Orbison be allowed (if he were alive) to prevent 2 Live Crew from using his
material to mock women? What if he finds this material offensive?
Digital Music and Movies
In 2008, 40 billion songs were downloaded illegally, which is as much as 95 percent of all downloaded
music! Government and industry are striking back. The Prioritizing Resources and Organization for
Intellectual Property Act (Pro-IP) permits law enforcement officials to confiscate any equipment used to
steal copyrighted material.