June 13, 2021
On tonight's #Courtside, a discussion of the recent revelations that Trump's DOJ electronically spied on Dem members of Congress and their families.
COURTSIDE with Neal Katyal is a fast, irreverent look at the legal issues of the day, hosted by the Obama Administration's top courtroom lawyer and Georgetown Professor Neal Katyal. Neal has argued 44 cases at the Supreme Court and explains the legal issues of the week in under 10 minutes.
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Episode 85 (original 2020 series)

This is the webpage for my new podcast. Each week this summer, I'll talk with a celebrity guest about an important historical Court case, describing its significance and implications.
 

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At once revered and reviled, Citizens United remains one of the most controversial and consequential Supreme Court decisions of the twenty-first century. Striking down all prohibitions on independent campaign expenditures, the landmark 2010 decision found that corporations are afforded the same First Amendment free speech rights as are individuals. While Justice Stevens, dissenting for the Court’s four liberal members, blasted the conservative majority’s “wooden approach to the First Amendment,” his words were not enough. Citizens United removed one of the last remaining guardrails against corporate interests, and as a result, dark money, corporate spending, and Super PACs have come into election cycles.  Join the legendary Hollywood Director Judd Apatow as we get into the case. This marks the end of the Courtside Season 1. There might be a special bonus episode coming with someone quite interesting next month, if the stars align. And yes, because you all made Courtside such a smashing success, Season Two will appear in the summer of 2024! Paid subscribers have access to all the extra written materials about Citizens United below, including a short summary of the case, the full written decision, and an abridged one.

Courtside Episode 10 with Judd Apatow

I discuss these three Trump maneuvers, and why each is likely to fail. Listeners have been asking me about each of these 3, so I thought I’d put my answers to you in this format.  For more on the new Georgia statute for ouster of local prosecutors (a move Governor DeSantis just used in Florida), read this informative article https://www.theatlantic.com/ideas/archive/2023/08/trump-georgia-indictment-motion-remove/675019/  If you aren’t a paid subscriber, please consider joining. I don’t run any ads on Courtside, everything is listener supported. All profits go to charity.  

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Emergency Courtside Episode on Trump's 3 Procedural Defenses to the Georgia Indictment

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Campbell v. Acuff-Rose Music Inc. is an important 1994 Supreme Court decision that profoundly impacted copyright law. In a unanimous decision, the Court found that parody is, by and large, protected under the fair use exception, meaning that it doesn’t violate copyright. In the case, 2 Live Crew, a rap group, parodied Roy Orbison and William Dees’ song “Oh, Pretty Woman.” The Court said that was OK. In the long run, the decision has eliminated barriers that previously prevented artists from incorporating unoriginal works into their own, thereby promoting creative growth and the expansion of the arts. We have the ideal guest to discuss the case, Aaron Dessner. Aaron is part of what I think is the best band in America, the National. He's also the most sought after music writer today, having co written several records with Taylor Swift, including the hauntingly beautiful Folklore and Evermore. He just did the same with Ed Sheeran’s new record Subtract. The idea for this episode arose one night after one of Aaron’s concerts, where he and I got talking about music and copyright and how AI, Artificial Intelligence, was going to upend things. So here’s what happened. In 1964, the singer-songwriters Roy Orbison and William Dees wrote a song entitled “Oh, Pretty Woman.” After completion, they assigned the rights of the song to a music company called Acuff-Rose Music, which soon had it registered for copyright protection. 25 years later, popular rap music group 2 Live Crew wrote a parody of the song, which they called “Pretty Woman.” The parody began with the original lyrics and harmonies, but it quickly changed gears, replacing the wishful and melancholy words and chords with startlingly brash ones. 2 Live Crew wrote to Acuff-Rose and asked for permission to release their parody. Acuff-Rose denied the request, but the group went ahead and released the song anyway. About one year later, Acuff-Rose sued 2 Live Crew for copyright infringement. The District Court ruled in favor of 2 Live Crew, but the Court of Appeals reversed. 2 Live Crew appealed, and the Supreme Court agreed to hear the case. At issue was a simple question, but one that had the potential to radically transform copyright law: Did 2 Live Crew’s parody qualify as fair use under the Copyright Act of 1976?  The Court unanimously said it did. Campbell v. Acuff-Rose Music was a very consequential ruling. Aside from allowing 2 Live Crew to continue selling their parody of “Oh, Pretty Woman,” the decision also promoted artistic growth, pushing the boundaries of what could acceptably be imitated from preexisting works. Indeed, by recognizing that parody meets the threshold for fair use, the Court opened countless doors for aspiring artists, ensuring that they can draw upon, alter, and otherwise criticize previous works. But that is not to say that the decision gives artists a blank check. As Justice Kennedy remarked in a brief concurrence, “The parody must target the original, and not just its general style, the genre of art to which it belongs, or society as a whole.” In other words, parody qualifies under the fair use exception so long as it criticizes the original work (and not some broader societal phenomenon). The decision thus respects the key tenets of copyright law and protects the works of parodists, striking a delicate yet thoughtful balance between two competing interests. Aaron and I get into a discussion of modern copyright problems, including the Ed Sheeran case and the ways in which Artificial Intelligence might upend things. Paid subscribers have access to all sorts of information about the case, including a short summary of it, an abridged version of the decision, and the full decision. There will also be a remarkable bonus episode with more from Aaron Dessner for paid subscribers in the days to come.

Courtside Episode 9 with Aaron Dessner

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Andy Warhol Foundation for the Visual Arts Inc. v. Goldsmith et al. is a landmark 2023 Supreme Court decision concerning copyright law and the “fair use” exception. We have two amazing guests in conversation to discuss it. Adam Weinberg is the Director of the Whitney Museum, and the smartest person about art that I know. Deborah Kass is a brilliant artist, and some of her most famous work plays on Warhol. They are the ideal guests to discuss how this decision will transform the art world — and guide us through a vicious debate between Justice Sotomayor (for the majority) and Justice Kagan (for the dissent, joined by Chief Justice Roberts). To understand what’s going on, first know that the Copyright Act gives artists a number of rights intended to preserve and promote creative expression. Included among these are the right to reproduce copyrighted work, the right to create derivative works, and the right to display copyrighted work in a public setting. However, artists do not have absolute control over their work. In 1976, Congress passed a law stating that the use of a copyrighted work “for purposes such as criticism, comment, news reporting, teaching…scholarship, or research” is not an infringement of copyright. This is known as the “fair use” exception to the Copyright Act. To determine if a piece qualities as “fair use,” the statute offers four factors for consideration: “The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; the nature of the copyrighted work; the amount and substantiality of the portion used in relation to the copyrighted work as a whole, and; the effect of the use upon the potential market for or value of the copyrighted work.” If a new piece of art alters an original work to such an extreme that, under factor one, the “purpose and character” of the new piece is altogether different from the original, it is said to be “transformative.” Enter Andy Warhol. In 1984, Vanity Fair commissioned Warhol to create a portrait of Prince for their magazine cover. The portrait was to be based on a photo taken by photographer Lynn Goldsmith; Vanity Fair had paid Goldsmith $400 for the photo and agreed to use it only for the cover of the magazine. However, Warhol went on to create 15 separate portraits of Prince, each of which used the photo as inspiration. In 2016, the Andy Warhol Foundation (AWF) sold Condé Nast the rights to one of these portraits. Goldsmith received no compensation, and when she heard about the transaction, she demanded payment. AWF responded by launching a lawsuit. You can see Goldsmith’s original photo on the right, and what Warhol did on the left. AWF argued that Warhol’s rendition of Prince (titled Orange Prince) was so transformative that, under the first factor for fair use, the portrait acquired an entirely new “purpose and character” and was therefore legal. Lawyers for Goldsmith disagreed. Thus, the decision centered around one, key question: Did the sale of Warhol’s portrait of Prince make fair use of Goldsmith’s photograph, particularly with respect to factor one of the Copyright Act’s “fair use” exception? Writing for a 7-2 majority, Justice Sotomayor held that the Warhol Foundation committed copyright infringement when, in 2016, it sold the rights to a Warhol work (based on a photograph by Lynn Goldsmith) without compensating Goldsmith. In a blistering dissent, Justice Kagan argued that the Majority Opinion would have chilling effects on the creative process, limiting artists, musicians, writers, and others in their ability to create new and inspired works. I’m thrilled that listeners will get to hear Deborah Kass, one of the greatest living artists, and someone whose work appropriates Warhol (who in turn is appropriating others). This is the Red Deb of her’s that we discuss in the episode: While it is too early to know exactly how the Supreme Court’s Warhol decision will play out, many experts see the case as a shift in the world of copyright law, opening the floodgates to more lawsuits and potentially hindering artistic creation across the country. It will be a fascinating next few years for copyright. One last thing: I’m well aware that it’s hard to just listen to this episode without seeing the pictures. Next week’s copyright episode will be about music, not pictures, with the great guitarist and most sought after music writer today, Aaron Dessner. Together, they will give you a comprehensive look at how copyright law is impacting our lives, every day.  For all the written materials about the case, along with pictures and the full written opinion, and a bonus discussion with Deb and Adam, become a subscriber to Courtside at nealkatyal.substack.com.

Courtside Episode 8 with Adam Weinberg and Deborah Kass

Judge Michael Luttig was one of the most respected jurists and lawyers in our nation. Appointed by President Reagan and a deep conservative, he played a critical role on January 6. Listen to his remarkable reactions to the indictment brought by Jack Smith.  For more, please subscribe to Courtside at nealkatyal.substack.com. There you’ll get access to all the full episodes and written materials, including deep dives on historic Supreme Court cases with discussions from people like John Mulaney, Katie Couric, and Rob Reiner.  I will also be launching a second emergency Courtside today with my own reactions to the indictment.  

This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit nealkatyal.substack.com/subscribe

Episode 85 (original 2020 series)

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