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Britney Spears' Battle Over Song Rights

A few years ago, songwriter Steve Wallace experienced déjˆ vu when he heard Britney Spears' hit song "Sometimes" on the radio. Why? Wallace says that he wrote this ditty nine years before Spears recorded it, and now he is suing the pop princess for his share. He's working with a poor man's copyright - a copy of the song in question that he mailed to himself a few weeks after he wrote it. Copyright law says owners are due $150,000 for each infringement. Can Wallace prevail in court?

You're driving along listening to the latest release from the newest teen sensation. The lyrics are sticking in your head like superglue—definitely the makings of a Billboard hit. But wait...maybe this is so addictive because you've heard it somewhere before? Like on your home stereo when you recorded it yourself a few years ago?

Songwriter Steve Wallace experienced a moment similar to this when he heard Britney Spears' hit song "Sometimes" on the radio. Why? Wallace says he wrote this ditty nine years before Spears recorded it. Now, he's suing the pop princess for his share. This May, Wallace filed a lawsuit against Spears, her album promoter, and various recording and publishing companies associated with the singer.

Spears burst onto the music scene in 1998 with the song "Hit Me Baby One More Time." Since then, she's had plenty more hit records. Not to mention starring in a movie and her own reality show with husband, Kevin. There's even a baby on the way. Does this copyright infringement suit threaten to dampen the pop princess' reputation?

How did this instant chartbuster end up in the hands (and its proceeds in the pockets) of Britney Spears? According to Steve Wallace, he wrote the song "Sometimes" in 1990. Then, he submitted it to publishers in 1994. In 1997, he submitted it to a lyric contest in Pennsylvania. The next year it came out under Spears' name and propelled her to stardom. Now, he wants his share. And under copyright law, that would mean $150,000 for each infringement.

To support his claim, Wallace is relying on what is known as a "poor man's copyright." This term refers to the practice of mailing your own work to yourself to date the material with a postmark. Wallace claims he mailed "Sometimes" to himself only a few weeks after he wrote it. He didn't obtain a formal copyright for the song until 2003. This was already four years after Spears had a copyright to the song "Sometimes."

Is Wallace's poor man's copyright all the evidence he has? He reportedly has an email from Spears stating, "I now know for a fact that you wrote sometimes [sic]. But there's nothing I can do about it. That's all I can say about it."

As for the poor man's copyright, it's an age-old practice. It's typically used by people who want to make sure they own the rights to their work. But does the "poor man's copyright" hold up in a court of law? The bad news for Wallace is there hasn't been a successful case using this age-old defense. Of course, that could be simply because many copyright suits don't make it to the courtroom.
Do you need a poor man's copyright to protect your work?

The simple answer is no. An original work is copyrighted once it has been started and fixed in a tangible form. In the case of a song, this means either recording the song or putting the lyrics to paper. In other words, a copyright doesn't have to be registered with the U.S. Copyright Office to be protected. And there's no need to mail a copy to yourself. Registration simply provides proof of ownership. Of course, there are benefits to having this proof. It means you could collect greater damages in a lawsuit. And you can't file an infringement suit without having your copyright registered.

So, if you are in the business of songwriting and plan to shop your work around, you should consider a copyright. It's better to plan ahead than wait to hear your baby on the radio—as you sit penniless.
And what will be the outcome of the Spears' song snafu? Probably an out of court settlement. Reports say the two songs are nearly identical lyrically. The singing sensation probably didn't know much about the history of the song before she recorded it. Judging from the hush-hush nature of the lawsuit's existence, everyone would like it to go away quietly. After all, Britney's energies are focused on other projects right now, like her new baby.

Wallace's claim certainly won't stop similar copyright infringements. Hopefully for Spears, the next time someone hands her a sure hit, she'll be more cautious about where it came from. And this will be the only time she's hit with a copyright infringement suit.

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Britney Spears Is the Last of the Pop Goddesses

Who is Britney Spears?

It’s been 20 years since the pop supernova first came into our lives as a spunky Mousketeer. It’s been 15 since the pigtailed teen danced through the halls of a high school in a Catholic school uniform. And we still don’t know.

Spears’s latest album, Britney Jean, comes at a peculiar point in her career, when a feverishly anticipated Vegas residency and general “aw-we-love-her” goodwill cements the fact that we have deified her as one of the elite pop goddesses. But as we bow down to worship at the altar of BritBrit, we also recognize that Spears may be the last of those divine divas. We’re in an age now when we want to know our pop stars. We want to relate to their humanity rather than gape at their untouchable infallibility.

Britney Jean wisely winks to that desire, but in the end fails to deliver any meaningful insight into who this Britney Jean person is. But it does give us what we still want from Britney Spears, the Last of Our Pop Goddesses: nonsensical, addicting…and only vaguely revealing pop scripture.

Spears has built a career as the ultimate tease. She’s bared all, sure. At the same time, she’s bared nothing at all.

An emotionally insulated teenager, “Britney Spears” was long just a mouthpiece robotically reciting Jive Record’s idea of “pop star” to the press. She quickly took up permanent residence on tabloid covers—a personal life with all the turbulence of a JetBlue flight through a tornado helped with that—without having to even say anything. I mean she said things, sure. But even when, say, holding a press conference to announce that she intends to remain a virgin until marriage, Spears’s revelations had all the intimacy and emotional honesty as…revelations made during a rehearsed and staged press conference.

Now, Spears is 32 and still releasing music. The landscape has changed from when pop stars were treasured monuments safely separated from gawking public by gatekeepers and security tape, should anyone accidentally tarnish the singing artifacts by catching a glimpse of—and then telling the world about—their imperfections. Baring souls and exposing warts is no longer a cathartic exercise reserved solely for singer songwriters and soul chanteuses. The industry’s most commercial stars now market themselves in 140-character confessions, public displays of vulnerability, and tracks that are as emotionally naked as the women who perform them.

It’s no surprise that, cannily securing relevance decades after the pop movement she helped usher in was dismissed as disposable, Spears is responding to the industry shift by releasing what she calls her “most personal album ever :).” The result, though, is peek-a-boo music, 10 songs that gingerly peel back the curtain justthismuch to give the smallest insight into who Britney Spears is. But, really, by the time Britney Jean ends, the most intimate revelation is that Jean is Britney’s middle name. Because it says so in the title.

It shouldn’t be surprising that an album that counts a song titled “Work Bitch” as its leadoff single isn’t exactly a penetrating musical therapy session. It also doesn’t matter. “Work Bitch” is great! And so is the rest of Britney Jean, a top-to-bottom effortlessly listenable record with no Gaga-esque pretension to reinvent the concept of pop music, Cyrus-esque (foam) middle finger to the idea of pop music, or Perry-esque cartoonification of pop music.

It’s just straightforward pop music, and that’s just fine.

“Work Bitch” was, however, a bit of false advertising for the album that would follow. With its whirring bees nest production, jackhammer driving beat, campy lyrics, and Spears’s gloriously idiotic British accent, the song hinted at something more exciting than what Britney Jean ends up offering: a pop star who gets it, the idea that pop music can, and maybe should, be silly. It’s the way Miley Cyrus—stop clutching your pearls—gets it. It’s the way Lady Gaga practically parades around with a neon sign that flashes, “Hi everyone, I get it! See!!!???”

Weird, sexy, and aggressive as it is, “Work Bitch” is just a quirky one-off treat on Britney Jean. The album’s second single “Perfume,” a moody stalker fantasy, and the appealing folktronica opener “Alien” are far better representations of the tone of Britney Jean. Still, the former, about a love triangle so torturous Spears feels paranoid enough to mark her man with her own scent (presumably one of her own signature fragrances), and the latter, about how she “always felt like a stranger in a crowd,” are more personal in concept more than they are insights into Spears’s psyche.

They do, however, feature Spears—wait for it—singing! Like for real for real singing, not speak-singing into an Auto-Tune machine that distorts her voice into an alarming, digital frog-sounding disaster. You can actually hear her voice and, with it, some actual emotion, particularly on the wistful closing track, “Don’t Cry.”

Britney Jean has more playful, and even skillful, vocal tricks and ticks than any of Spears’s post-meltdown albums, a welcome reminder of what Spears made her name on in the first place: a unique voice. (She really has one!) Thee was the Lolita sultriness in the vocal fry of the “oh bab-ay bab-ay” on “…Baby One More Time;” the growling sweetness of “Sometimes;” and the lilting carnality of her voice on “Oops!…I Did it Again” and “Slave 4 U.” The thinness of her voice on “Everytime” is what gives it its aching emotional resonance.

Spears was never a strong vocalist. But she was always an interesting one.

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In fact, Britney Jean is least enjoyable when Spears, on occasion, reverts to the Auto-Tune crutch. The distorted vocals on “It Should Be Easy,” which features Will.i.am, sound about as dated as, well, a song that features Will.i.am. The dance-floor banger is a nondescript cacophony of beats dropping and crescendos and otherwise noisy production that distract from lyrics about why love has to be so complicated.

But “It’s Should Be Easy” does set off a run of three more club tracks that, though they have a tendency to meld together on a casual listen into one mutant megatrack, are all markedly stronger. “Tik Tik Boom” has Spears cooing provocatively—her sweet spot—about getting busy (“Not too slow and not too quick/ Baby make me tik tik”), though the production could use a more aggressive thrust. (Heh.) “Body Ache” continues the sex sprint, this time with a more energetic, stuttering beat and titillating guttural delivery from Spears.

“Til It’s Gone” is sweatier than the album’s other dance tracks, a power surge of raunch that explodes into an EDM-inspired dance-party finale. You’d half expect sparks to rain from the sky by the end of the endorphin-building bridge.

“Til It’s Gone” leads into “Passenger,” segueing into the wind-down portion of the album. Co-written by Katy Perry and Sia, it’s the most vulnerable of Britney Jean’s tracks: “It’s hard to jump with no net, but I’ve jumped and got no regrets.” It’s also the best of the album’s midtempo songs. The less said about “Chillin With You,” a duet with her sister that’s supposedly meant to drive home the “this is personal” message, the better. Britney discusses her preference for red wine. Jamie Lynn is more of a white wine girl. It’s more #confessional than “confessional.”

Let’s make that three things, then, that we now know about Britney Spears. Her middle name is Jean. She likes red wine. And she’s still capable of churning out a great, if not revolutionary, pop record. At 32 and after 20 years in the business, maybe that’s all we need to know about Britney Spears, our Last Goddess. Amen.

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