Imagine you are Olivia Rodrigo. This may be harder for some of us than others, but bear with me. You have just released your new single Brutal. Your new song has been called brilliant and one of the best songs of the year by critics. But then the phone rings with the bad news: your song contains a riff that is very similar to the famous guitar riff in Elvis Costello’s Pump It Up and you are being sued for copyright infringement. Rats! As a responsible creator, you try to avoid copying material from others. You even have people in your record company who check your songs prior to release to avoid incidents like this. But alas, sometimes accidents still happen.
Enrico Bonadio and Magali Contardi
The legal battle between Nike and conceptual art collective MSCHF around their infamous Satan Shoes has been finally settled. After the recent decision of a New York judge ordering to temporarily halt the sales of the shoes, MSCHF has agreed to recall the shoes from the market to end the dispute.
After four years of turbulent discussions and 1,400 pages of complex provisions, the EU and the UK (the “Parties”) signed the Trade and Cooperation Agreement (TCA) on 24 December 2020. Now that the much-feared risk of a no-deal Brexit seems to have been avoided, it could be high time to start digging into the details of the TCA and critically assess whether it is an effective and all-encompassing regulation or just a “platform” created in view of future negotiations and developments in the EU/UK (trading) relationships.