Passions and the Pursuit of Justice: Paul Goldstein and Havana Requiem

Chrissie Scelsi

©2013. Published in Landslide, Vol. 5, No. 3, January/February 2013, by the American Bar Association. Reproduced with permission. All rights reserved. This information or any portion thereof may not be copied or disseminated in any form or by any means or stored in an electronic database or retrieval system without the express written consent of the American Bar Association or the copyright holder.

Exotic locales. International intrigue. Copyright terminations. These are perhaps not the string of descriptors that one would expect for a legal thriller, but for intellectual property lawyers and those intrigued by this area of the law, it is an indicator of a clever and delightful literary adventure. The topic of copyright termination is certainly timely, as 2012 and 2013 mark the earliest dates for which artists can start to give notice to their publishers and record labels of their intent to terminate their grant of rights to their compositions and sound recordings. In Stanford Law professor and intellectual property guru Paul Goldstein’s latest fiction book, Havana Requiem, copyright termination plays a central role in a mystery involving the compositions from the golden age of music in Cuba, such as those featured in Buena Vista Social Club.

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