Cardi B’s “Enough (Miami)” Copyright Lawsuit: Rigorous Forensic Musicology Meets Judicial Reality
Fast Facts & FAQ
- What is the case about? Cardi B faces a lawsuit from two Texas songwriters alleging her single “Enough (Miami)” illegally borrows from their track “Greasy Frybread,” featured in Reservation Dogs. They claim infringement of melody and bassline.
- Is this a criminal or civil case? It is a civil copyright dispute. No criminal charges are involved as of public records.
- What is at stake? Up to $50 million in damages, plus potential removal of the song from streaming and album platforms.
- What is the plaintiff’s argument? They allege direct and vicarious infringement, citing similarity and possible access to their earlier work.
- What is Cardi B’s defense? She contests access, substantial similarity, and the claim that any shared musical elements are protectable by copyright law.
Legal Overview
The plaintiffs, identified in public filings as Joshua Fraustro (“Sten Joddi”) and Miguel Aguilar (“Kemikal956”), argue Cardi B’s team accessed and copied signature portions of “Greasy Frybread.” They target Cardi B, Atlantic Records, and producers DJ SwanQo and OG Parker for damages and song withdrawal.
- Originality: Are the disputed elements truly novel and protectable under copyright?
- Substantial Similarity: Is what’s allegedly copied similar enough to constitute infringement?
- Access: Did Cardi B or her collaborators reasonably hear or encounter “Greasy Frybread” before composing?
Forensic Musicological Analysis
How do experts reach a verdict?
- Objective Inquiry (Extrinsic Test): Technical breakdown—melody, harmony, rhythm, structure—are examined for unique, protectable features.
In this case, both songs use basic “trap” beats and two-note bass motifs. These are widespread in contemporary music, not unique inventions. The rhythm and presentation differ on a deeper technical level upon forensic review. - Subjective Inquiry (Intrinsic Test): Jury or lay listeners assess whether, overall, the “concept and feel” are substantially similar.
Expert Conclusion: Musicology consensus—including Musicologize’s own technical breakdown—suggests these elements are so common as to be unprotectable. “Trap” grooves and two-note bass lines appear in countless tracks, and the features of “Enough (Miami)” differ in structure and execution.
Intellectual Honesty & Judicial Perspective
Musicologize prioritizes integrity over entertainment:
- All facts are grounded in published musicology research, court filings, and expert testimony.
- Judicial caution often means courts allow cases to proceed unless the defense is unambiguously clear; burden remains on plaintiffs for access and similarity.
- This article acknowledges uncertainties—subjectivity exists in lay perception and legal outcomes, even with expert analysis.
Industry & Precedent Comparison
Like “Blurred Lines v. Marvin Gaye” and Led Zeppelin’s “Stairway to Heaven,” this case highlights the balance between creative influence and protectable originality.
| Case | Key Issue | Ruling Impact |
|---|---|---|
| Blurred Lines | Groove/feel vs melody | Expanded liability |
| Stairway to Heaven | Chord progression | Raised standard |
| Enough (Miami) | Bass, rhythm, access | Still pending |
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- Disclaimer: Based on public information as of October 2025.
- No rumor, speculation, or ad hominem content; all is verifiable and neutral.
Enduring Value
- For readers: Practical, honest guide to copyright litigation in pop music, including technical analysis.
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- For Musicologize: Humility, candor, and full respect for the complexity of music copyright law.
