Weird Al Yankovic

(Legal) Career Killers: “Alone Again” by Biz Markie

Welcome to (Legal) Career Killers — a series that looks at how the law, lawyers or lawsuits killed a band’s or artist’s careers. In other words: They fought the law and the law won.

I wrote an ABA Journal cover story in 2019 looking at songs that changed the law. The issue of sampling has become an important one when it comes to copyright law. A major reason why was because of two 1991 cases. I spotlighted the first: a lawsuit filed by members of 60s era band The Turtles against hip hop group De La Soul. I decided to take a look at the second one, which involves the recently deceased rapper Biz Markie.

When the Diabolical Biz Markie died in July 2021, many publications made sure to emphasize that he was more than just a one hit wonder. Widely known for his big personality and sense of humor, the “Clown Prince of Hip Hop” (he once recorded a song about picking his nose called “Pickin’ Boogers” – either that or “Weird Al” Yankovic’s “Gotta Boogie,” is the best song ever written about nose doo-doo) was a highly influential rapper who was beloved in hip hop circles and by his fans.

But the fact remains that most people only knew him by his big hit, 1989’s “Just a Friend.” A major reason why he never had another was because of a lawsuit that helped set a precedent in the then-grey area of sampling.

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To Err is Human — And Sometimes Lucrative

As someone who collected baseball cards during the late 80s/early 90s, there were a few players who were always in demand. Mark McGwire and Jose Canseco. Ken Griffey Jr. Bo Jackson. Todd Van Poppel (no, seriously — one of my friends had a 1991 Upper Deck rookie card for the overhyped prospect who ended up with a career record of 40-52 and a 5.58 ERA and we all thought he had won Powerball).

But the guy everyone wanted a piece of was Gregg Jeffries. A can’t miss prospect for the New York Mets, Jeffries was the first player to win the Minor League Player of the Year Award from Baseball America twice (other players to have won the award include Dwight Gooden, Canseco, Frank Thomas, Derek Jeter, Mike Trout and the only other 2x winner: Andruw Jones). With his versatility in the field and undeniable talent at the plate, Jeffries started his pro career in 1987 with a bang and made an instant impact for the defending champion Mets. The hype train went into overdrive and his rookie cards became the hottest thing since Prometheus brought fire to the people.

So when I got the above Donruss card and noticed the coloring error, I thought I had hit the jackpot. Error cards can be extremely rare and valuable, so the fact that I had one for a player in such demand as Jeffries meant I’d never have to work a day in my life, right?

Obviously, things didn’t work out that way (for me or Gregg, who had a fine 14-year career, including some excellent seasons for the St. Louis Cardinals in the mid-90s, but will never be voted into the Hall of Fame). The value of error cards, and baseball cards as a whole, depend on supply and demand. And once it was clear that Jeffries wasn’t the second coming, demand plummeted and everyone moved on to the next can’t miss kid (Jeter, Chipper Jones, A-Rod… there’s always someone).

Error coins are the same way. Whether or not you have a Griffey Jr. or a Jeffries depends on supply and demand. Here are a few of the error coins I’ve collected over the years:

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Career Killers: “18 ‘Til I Die” by Bryan Adams

Plenty of musicians have successfully reinvented themselves – arguably, all great artists have to do it in order to sustain long careers and remain relevant. Radiohead went from Nirvana wannabes to fearless experimentalists. The Beastie Boys stopped doing hardcore punk and became world-famous rappers. U2 changed up their sound in the 1990s, successfully going from fading force to culturally relevant powerhouse while perfecting a template that many others continue to follow. Heck, Madonna has made it into an art form to the point where successful reinvention has become part of her overall brand.

But what about artists that fight reinvention, either because they’re determined to stick to their guns and continue doing what they had always done (and been quite successful at) or because they aren’t ready to become the thing that they know they will have to?

Bryan Adams, I’m looking in your direction.

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Coverage of 2015 Avvo’s Lawyernomics Conference

Last week, I covered Avvo’s Lawyernomics conference held at the Wynn Las Vegas. Here are the stories that came out of it:

How should you reboot your legal marketing? Lawyernomics speakers will explore.

It’s a mobile world–embrace digital marketing and learn Google’s secrets, Lawyernomics speakers say.

What will lawyers be doing in 5 to 10 years?

.@avvo‘s providing pro headshots at #lawyernomics so you won’t look like The Boz on your site. pic.twitter.com/Uuvgi31hyQ
— Victor Li (@LawScribbler) May 14, 2015

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(Legal) Career Killers: “Alone Again” by Biz Markie

To Err is Human — And Sometimes Lucrative

Career Killers: “18 ‘Til I Die” by Bryan Adams

Coverage of 2015 Avvo’s Lawyernomics Conference