Opinion: “Protecting Energy” Episode 517? No… it was protecting the ego of Joe and Royce

The recent Joe Budden Podcast with both Joe Budden and Royce da 5’9” which dropped on the 13th March. Two days after the ‘Rise and Fall of Slaughterhouse’ album was released by KXNG Crooked and Joell Ortiz.

This podcast really shows the petty and fragile the egos of the rap group is. Royce came late into the podcast. After Joe had owned the building like he always does and his co-hosts are mediocre side-kicks. Which we knew would happen with Ice and Parks after ditching the predecessors on the Joe Budden Podcast.

Seeing how they call it “unsupervised” and mock the dress-code of Joell in the music-video. That just shows how Royce is unhappy with it. The same is Joe Budden. They are calling out the roll-out and the album itself. Saying its’ weak and that they didn’t address it hard enough. Even saying they were “short-sighted” of them.

What I am hearing from this one was very little new information. Only that they weren’t in it. Royce seems like he don’t want to take responsibility for his part of it. Alas, just push it all on the other members. While he is not saying anything bad about Joe. That seems weird to me. As he blames the others. Just like he did on IG Live last week.

It is interesting to see that Joe and Royce are more sour about the brand and the logo ish than about the music. These two are more in sync of the roll-out and how the messages was spread ahead of album. Because, to them the Slaughterhouse brand lost value…

Alas, nobody cared about Slaughterhouse for years. Just like Joe didn’t work or put the time in for anything else than his Network. That’s why as a fan to listen to his whining on the podcast does no good. Royce doesn’t to cool either. He is on his D12 bashing days in concern to the duo who made their own album.

Royce said he was “insulted” and lost “sweat equity” is also weak tea now. We know his been busy on his own. Working on Phryme and own albums. It is not like these two gentlemen is sincere about the will or worked for any joint projects. Especially, when we heard what the other two rappers tried to do.

Joe Budden spoke with a lying tone on there about not “hurting his people”. The man who don’t honour contracts, neither in Def Jam or Shady Records. While he throw Mal and Rory under the boss. While Joe will not address the contracts and possibilities that was created in the 10 year of no music.

Royce said he now wants to “protect himself and his energy” from Crook and Joell now. Where he has to hide from “narratives” and be the “bigger man”. Now it is clear that he wants to distance himself from them. Joe even called it a “slimy shit”. That shows what is really happening behind the scenes.

As a fan this is proof of the total destruction of Slaughterhouse. This Episode of Joe Budden Podcast proves this. Royce and Joe shows that they had no intention of doing anything. They were undressed in public and didn’t like it. Royce wanted to be the big-man, but not take responsibility. That is evident of listening to it.

Royce is clearly not vibing. Trying to act all out and Joe is his own self. Nothing has changed. The album only amplified it. Peace.

Opinion: The Slaughterhouse as we knew it is now gone

XXL March 2011 Front Page

Today KXNG Crooked and Joell Ortiz dropped ‘The Rise and Fall of Slaughterhouse’ which didn’t include the other Slaughterhouse MCs Joe Budden or Royce Da 5’9”. Therefore, we easily state that the 4 artists will not drop any serious project anytime soon.

We know that Royce is in his mojo and dropping separate projects as a solo artist. Joe Budden is buys with his podcast and network. While Joell Ortiz have dropped projects steadily. The same can be said about KXNG Crooked. They have all worked separately … but has consistently teamed up on various of projects.

That’s why we can after this week and the fall-out after that with certainty say Slaughterhouse will not be revived or have an anniversary tour. The group as an entity seems dead. Even if Royce or Joe has acted differently about it. Since, they by all means are allowed to feel invested and part of it. That is legit, but at the same time… they haven’t tried or carried anything for years. At least how it looks like now to the fans, which I am.

I bought the first Slaughterhouse album, which was released independent and the Shady Records “Welcome to Our House”. That’s because I was initially a fan of Royce and Crooked I. These two had history and dropped projects, which I bumped back in the day. Some of those records I play to this day. Therefore, I got introduced to Joell and Joe Budden.

I never cared for Joe Budden and his rhymes. That is just the way it is, but because of Slaughterhouse. I started look into his discography and his later his albums, which he released like “All Love Lost” or “Rage Against the Machine”. While I have become a fan of Joell Ortiz, because of the group and now enjoys plenty of his albums.

That’s the value of this group. It galvanized the ones who was already popular and had a fanbase, but also got more people looking into it. I knew about Joell because he had signed to Aftermath at one point, but hadn’t really heard his music. Only read about him in passing the XXL Magazine. So, that proves the value of joining forces. That should be a lesson for other s in the future.

A group like this has an exponential potential not because of the names alone. It has superior possibilities and can advance their career. I am certain that I wouldn’t care or have listened to Budden or Joell, if it wasn’t for Slaughterhouse.

So with today’s release of the ‘Rise and Fall of the Slaughterhouse’ only cements the end of the group and the option of further releases. As we know Joe Budden isn’t on the mic for other reasons than bitch on the industry on his podcast. Royce is comfortable in his own solo career and with the recent success. While the two others can work together and prosper, but they will not become a new Slaughterhouse. No, they will just be KXNG Crooked and Joell Ortiz. These two are fantastic on the mic and can drop bars. However, they are the not the game-changer or the rappers who conquers the charts like that.

Let’s be clear, Joe Budden is an initiator and instigator. No matter how you put it and his the ones that burns bridges in Def Jam and Shady Records. He wasn’t even planning to honour his deal with Shady. So, it is clear from the get-go that he would be a troublemaker, which we have seen time and time again. He expect people to work and be loyal to him blindly, but himself has to have the upper-hand and get all the benefits of a deal. Like his more worth than the group. That’s how it looks to me. Yes, Royce played along, but they have all focused on own careers and this has become a back-burner.

That’s why we know the drill and the studio will not be filled with these gentlemen. That Joe Budden speaks of how he would “murder” and be “danger” on the mic. I don’t believe him. Last time he tried to instigate things, Drake didn’t even catch the memo or care about his bars. It was even more silent and less concerned than Nelly was back in the day KRS-One dropped his diss-record. Therefore, Budden is a bit high on his own supply.

Alas… we can all be safe to say. These gentlemen will not reunite or drop anything significant together. They are not in that head-space or searching for that project. These has moved on and their resolve is different. Some got more out of it and other found new paths after. That’s why we know that is done.

The ones hoping for Glass House. Some people are still waiting for Dr. Dre’s “Detox” and I expect the same fate over this one. We are lucky if Crooked and Royce can drop their joint records together. If Royce can be a big man and understand the hurt of Crooked too. Unless, the ego is to huge and he cannot overcome that. Since, we have seen how “hurt” and “pained” he has acted on IG during the last week. Therefore, it is hard to know, if these tracks will ever see the day.

So here we are… in a juxtaposition and we are ending up nowhere. The group left Shady, but they all signed out too. Some tried to find deals and avenues for releases, but the drive and edge to do so… wasn’t really there and that’s why we ended up getting the half-way project today. No one should be happy about this.

Still, this shows why communication, relationship and the brutal truth is needed. They are built with different teams and motivations. These MCs had their interests and their visions for this. Nevertheless, seemingly some of them felt it was unfulfilled, while others hoped for a final project. That’s why we are here and not anywhere else. Peace.

A review of the ‘Rise and Fall of Slaughterhouse’: The Roll-Out and the Album itself all in 1

The roll-out of the joint album by KXNG Crooked and Joell Ortiz ‘Rise and Fall of Slaughterhouse’ is finally over. There been releases of singles like “Vacancy” and “Backstage” which set the tone. The other members of Slaughterhouse got into their feelings and said they even felt “hurt”. This being Joe Budden and Royce Da 5’9”. These has gone wild on IG Live, interviews and even on own podcast twice. So, there is certainly pieces crushed … and certainly amplified the egos of all the members.

These two has gone off at the other MCs of the group, which haven’t dropped a major project since “Welcome To Our House” in 2012 on Shady Records. Since then we the fans has waited for an infamous project named “Glass House”, which would have been the third instalment from the group. Alas, we are now a decade later and we have a joint venture between 50% of the group.

The album is clear in the bar-for-bar and tells their story. However, this one isn’t going in deep. It is touching the end of Slaughterhouse. While Crook and Joell made it seems like they would bury the group and tell deep unknown stories of the group. Yes, there are joints that speaks of the loss, the costs and the lack of movement of the group.

The beats are fine and dandy. The two MCs are seasoned rappers and can drops puns like nothing. They are proving their ability and why they are respected word-smiths. Still, the album should have told more, but they were maybe acting with some caution. As they still see Royce and Budden as brothers. That would make sense?

The roll-out made it seem like it was deeper and would be the closure of the chapter. This is just giving snippets of it and not digging deeper into the reasons of the lack of any albums from Slaughterhouse.

We know the Slaughterhouse was a powerhouse and a promising group that had a shot to be fantastic. The two MCs on this album proves their skills and ability to write rhymes. These two proves that on the album. Still, they are not saying things we haven’t heard before. Yes, Joell are straight and feels betrayed by certain members, that they we’re his brother. That is proven by “Coastin’” by them both.

We clearly hearing the stories of how Joe Budden thinks his bigger than the rest of group. That story is coming out. As well, as Royce who didn’t want to move either. We don’t know if that is all true, but that’s the narrative the Two MCs are spinning. This is not shocking, as they have told similar things in advance.

While the “Still In My Feelings” feels like an upgraded version of the intro to Joell Ortiz “In My Feelings” from Autograph. So, this is a joint that Ortiz already has published and verse he has released twice with only adding Crooked onto it. That was a bit weak of a man like Joell. This is re-issuing what you have released and put it on a joint album…

Look Mama” is the natural track of MCs who has made it and wants to give thanks to their mother. It is a nice joint and shows how the two went from poverty into riches. What it also shows their grateful words to their mothers. This is a nice track, but on a farewell of Slaughterhouse seems like an add on.

The end “Sorry” fits the “Coastin’”, “Backstage”, “Fukglasshouse” and “Vacancy” which all fits the pattern of ending it. While there are other tracks that doesn’t goes that deep. The production is tight. The beats are fitting the moods and the verses.

It is a well-built album. This album was made to seem to be a total closure of Slaughterhouse. The House was forclosed and the logo was even burned in the “Vacancy” music-video. However, it seems more like a moment of airing out some grievances, but not going really hard at it. The two made sure not to bury all bridges or throw to many punches. It is not like they tried to “Second Round K.O” or “Vaseline” it. The intent was clear not to make diss-tracks or brutally assault the other members.

However, it is short of stories and of further reflection on the matter. It has some sound-bites and some cuts, which can spark tension between the members. Nevertheless, it is not too deep or reflected. The album isn’t filled with bars that could envision or be able to tell another narrative. Than the stories, which was already out there.

That’s why the promise of closure and end is sort of still out there. This here is a beginning of an end, but not the final one. Not in my perspective as a fan and a listener. Who has enjoyed albums and projects from all four in the Slaughterhouse. That’s why I wanted more out of this here. The tracks that wasn’t about Slaughterhouse directly could have been leftover tracks from “H.A.R.D” for all I know. So, they just traded this and made it a full LP.

Still, this is an album for any rap and hip hop fan. Especially, the ones that has followed Slaughterhouse and the MCs associated with that. I will not consider this one a classic or such. It tells a story, shows the skills of the two, but it is not whole. Neither does it seem to poignant enough. Which is sad… because they could, but then they would totally destroy any chance of friends, collaborations or even being considered associates with the other two. That’s why I think they didn’t go all in or wrote rhymes that could spark a full out beef. Because, they just want to shed a light on why there haven’t been a release of any album since 2012. Peace.

A fan reaction: We need the closure of Slaughterhouse – The aftermath of the IG Live video

After watching the Instagram Live Video hosting Joe Budden and Royce da 5’9” first for the most part. Later dropping by for a short minute Joell Ortiz. While KXNG Crooked or Crooked I wasn’t present at it. However, what was said and the sentiments between the MCs are now crystal clear. Because, it was going nowhere and fast…

What is clear is that Joe Budden isn’t all that. He has a ego, which is higher than Mount Everest. While Royce is shielding himself and not holding himself accountable. His trying to ditch all responsibility or participation of whatever he did. That is how things are looking like to me.

It seems like Crooked worked out agreements and possible deals for Slaughterhouse, which Budden and Royce didn’t want or had interests in. They had already mentally called out or ERROR 404 it all. Since, whatever Crooked worked or fixed behind the scenes wasn’t good enough. While they are all claiming the IP and the ownership of it.

That’s why Budden was crying out about the logo and burned merchandize in the “Vacancy” video. While the “Backstage” video is also ruffling with some feathers. This is really poignant and evident, that the “Rise and Fall of Slaughterhouse” is not what Budden or Royce had in mind. They are not in that space and seems like they preferred it all to be dead. Alas, Crooked and Joell is just dropping a passion project. That is evident by how Joell and Crooked talks about it. While the pains and hurt is obvious too.

As a fan, I have stated, we need the closure. Some might find that corny after waiting for years and close to 9 years of nothing. The “Glass House” album is the epitome of broken dreams and shattered promises at this point. Heck, any project with the 4 MCs seems impossible. Firstly, because of Joe Budden himself. The almighty man and biggest ego of all of them. That is very evident. While Royce don’t leave much on the table either. That’s how it seems to me from the outside. He just playing the field and hoping for the best deal without having to put any work in. That’s how it looks like to me. The sort of brother that takes lots of credit when the project is out, but didn’t much or be concerned with the finer details before his cut was in reach.

While Crooked worked the business and offerings directly. Joell has been busy and steadily dropping project. Royce have had the two major boosts with “Book of Ryan” and “The Allegory” but the “Phryme” era seems long gone. While Joe has been Joe with his “empire” and Podcasting gig of late. Rory and Mal must clearly seem some resemblance in how Joe is handling this here. Because, this is the same toxic and controlling Joe we have seen before. Where Joe is always right and needs to fit on his accord… that is clear. Joe is right to want that, but if it is a joint-effort. Than everyone has to be served and not only Joe. While Joe is only concerned about Joe. That’s why he acts almighty and superior to the likes of Joell. That is obvious and it’s infuriating.

Joe haven’t even dropped anything with heartfelt emotion in a minute and “Mood Muzik” is ages ago. Nobody fears Joe’s rap or assault on a beat. If it was Lloyd Banks.. than I would be fearing something. But Joe Budden in 2022? He don’t even call the shots or ops. His just busy cussing out Parks on his couch.

As a fan of Slaughterhouse. A man listening to their music. This is just a tragic demise of a promising and possible powerhouse in the genre of Hip Hop. Instead, the men went their separate ways and cannot reconcile their differences. The egos are too much and their personal grievances is evident too.

While I enjoy Royce, the way he acted on IG was no good. Neither was Joe. They ganged up on Joell. While only trying to go after him and Crooked. Crooked wasn’t even there. The album which drops soon will be interesting. I am looking forward to the closure and the foreclosure of Slaughterhouse. Since, the mortgage and the owners has abounded it. Therefore, we shouldn’t expect more from them after this.

That is very obvious. The album from Crooked and Joell is putting the nail in the coffin. I doubt Royce or Joe will ever amount to anything. Except for them having their own projects and being all on their own. I don’t see a return and the bridges are burnt now. Which for some reason is actually good. Because, we don’t need false promises… I don’t need that… Peace.

A fan reaction: We need the closure of Slaughterhouse

This week it’s clear that Joell Ortiz and Crooked I (KXNG Crooked) are dropping a new joint LP called ‘The Rise and Fall of Slaughterhouse’ on the 11th March 2022. The Slaughterhouse phenomenon was huge years ago. The group was the future of the hip hop or rap. It was a group of 4 MCs who could drop bars and be brilliant on the mic.

This was filled with the two first mentioned, but also Joe Budden and Royce da 5’9”. All of them was an independent run and dabbled into the group thing. Because it turned into a movement and a generating fan-bases from all of the MCs. It was filled with rappers who was promising, but it didn’t take-off for before the Slaughterhouse unification.

Yes, Budden had like one single and a well selling LP back in the day. But at the time of dropping Slaughterhouse it wasn’t like that. Royce wasn’t pumping classical joints either. He wasn’t in that sphere and had also fallen out with Eminem. Therefore, it is not like Budden and Royce was all powerful at the moment.

In 2022 it is most likely that Royce and Budden doesn’t need Slaughterhouse. They have closed the chapter and moved on. While Ortiz and Crooked is now finalizing it after all the years since the 2012 release of “Welcome to Our House” which was released on Shady Records. Therefore, it is about time. We know “Glass House” isn’t getting released and is practically this group’s “Detox” which never will be released.

That Budden and Royce is “hurt” or “disappointed” but the other parts or the group is doing their thing. It is really natural, as the willingness of the others to participate or even connect isn’t there. Crooked tried to reach out and figure something out. However, it is clear by all narratives, it wasn’t in the cut or wanted to materialize. Clearly, Royce isn’t in that space and brewing everything on his own. While Budden is busy scheming his own enterprises. Where Budden throws all the “shots” and the others has to comply. Because, we have all seen how he acts towards fellow podcasters and employees on his own Network. It isn’t all shiny, but he wants the golden goose for himself. That’s why he is “hurt”. He wants the coins, but not put the work in… that’s how it seems to me.

The joint project of Ortiz and Crooked is a breath of fresh air. Ortiz have been dropping steadily music since the end of Slaughterhouse. The same has been done by Crooked. These two has been in the studio and dropped sonically good projects. The same can be said about Royce who has been on a steady progress with “Book of Ryan” and “The Allegory”. Therefore, we know what they can do. However, Budden is just a drama-setter and a TMZ of podcasting now. His not in favour and he just wants coins for other people’s work.

As a fan, seeing the “Vacancy” and “Backstage” singles… I am positive and haven’t felt like this since “Hammer Dance” or “Goodbye”. Maybe, Budden and Royce wanted more control of the business side of it. As the deal was broken by Crooked and he manoeuvres in a different way than the two who is left of the project now.

I only see value in the up coming project. Royce is fine on his own and building his discography steadily. Also his capabilities in producing beats and whatnot. He is really getting into his own lane and doesn’t need anything else. Budden can be the drama podcaster, which he wants to be. Ortiz and Crooked just supposed to work on their independent careers and leave it be.

However, I like it and support it. This is what is needed. Slaughterhouse fans needs this. No matter how “hurt” or “disappointed” the other MCs are. They ditched out and now the two others are telling their story. I cannot wait to hear the rest and be able to bump it too. Peace.

Pharrell and Thicke’s lines wasn’t ‘Blurred’ on “Blurred Lines” as the Court’s verdict awards Gaye’s Estate $4m in damages!

thicke-gaye

Well, Copyright infringement is a tricky thing, especially with something as soft as sound and audio. That musicians are taking each other’s vibes and play into their own creations isn’t new. The music is inspired and often in modern popular music they sample music that the composer together with producers pays for licencing. One of the most popular in my time we’re when Jay-Z and Dame Dash got the rights to use Annie Sample on Hard Knock Life:

“Jay-Z gained permission to use the “Hard Knock Life” sample by writing a letter to the musical’s composer Charles Strouse and lyricist Martin Charnin expounding on his childhood love of the show, having won a ticket to see it on Broadway as a prize in an essay-writing competition at his hard-knock Bedford-Stuyvesant school. The letter was, he later admitted, an “exaggeration”. In fact the rapper came across the hip-hop version, by producer Mark “the 45 King” James, at a rap show and bought it for a rumoured $10,000” (Ludovic Hunter-Tilney, 2015).

What was done in Jay-Z famous single for the ‘Hard Knock Life’ he got permission and also seek to gain permission to use the sample of the song in his own creation. Something that even wasn’t in mind between the parties in the litigation between Marvin Gaye’s estate and the Thicke Parties; as the Copyright infringement case that been running ever since the “Blurred Lines” became a hit in 2013. This was now a concluded case in the courts on the 22nd December 2016. Where the judgement and the jury came to a verdict where the Thicke Parties we’re at fault as per explained underneath. That both musical specialist and legal experts denies the claims of the Thicke’s as they does not see it as coincidence that “Blurred Lines” sounds so similar to “Give To Give It Up” by Marvin Gaye.

“In 1976, Motown legend Marvin Gaye composed and recorded in studio his #1 dance and funk hit “Got To Give It Up” (“Give”). ER2238. The song, dubbed by Oprah Winfrey the greatest dance song ever, has endured for the forty years since it was created. SER856. In early 2013, Pharrell Williams and Robin Thicke discussed writing a new song. See SER856, SER858. In multiple public statements they were candid about the fact that Give and Marvin Gaye were at the top of their minds in creating their song “Blurred Lines” (“Blurred”)” (United States Court of Appeals, P: 17, 2016).

“The amicus brief strays far outside the record, makes unsupported generalization about the music at issue, and is apparently uninformed by the actual trial testimony, including the fact that Williams and Thicke disavowed the idea that they wished to create an “homage” to Marvin Gaye. It also bears mentioning that of the 212 signatories to that brief, several are not “songwriters, composers, musicians, [or] producers” at all, but rather music business executives such as talent managers, attorneys, and other representatives. In addition, more than half (by our count, based on public information) are either clients of the Thicke Parties’ trial counsel, have recorded or are credited on albums with Williams, or have another business relationship with one or more of the Thicke Parties. This web of connections is not disclosed in the amici’s statement of interest” (United States Court of Appeals, P: 22, 2016).

“Thicke made many similar statements in video and radio interviews, e.g., telling an interviewer that Give is “one of my favorite songs of all time, I went in [to the studio] and [said] ‘you know Pharrell I’d love to make something like this, you know feel like ‘Got to Give it Up’ and [Pharrell] started with the percussion you know trying to get that rhythm and then the song actually happened we did the whole record in about an hour.” (United States Court of Appeals, P: 27, 2016).

Songs similarities:

“Finell testified that nearly every one of the 130 bars of Blurred contains at least one of the elements of Give that appears in the lead sheet. ER666. The numerous common elements and the way they interrelated with each other created a “constellation” of similarities she found “stunning” and “highly unusual.” ER581–82. For example, the “heartbeat” of the song—the interlocking bass and keyboard—“drove each song.” ER559. She identified seven elements found in both Blurred and the lead sheet: the signature phrase, the hook, “Theme X,” the bass melody, the keyboard rhythms and chords, word painting, and the parlando/rap section” (United States Court of Appeals, P: 34, 2016). “[O]ut of the four notes from the Give hook and four notes from Blurred, three are identical in their scale degrees.” ER600-01. The hook of Give repeats 12 times within the lead sheet and the hook in Blurred repeats 14 times. ER602. The four-note hook melody in Give contains scale degrees 6- 1-2-1; the four-note hook melody in Blurred contains scale degrees 6-1-1-1. SER868-70. Finell also testified that the rhythmic placement is similar in that two of the notes are before and two are after the bar lines in each song“ (United States Court of Appeals, P: 36, 2016).

“In an attack on this testimony, ten musicologists have filed a brief that purports to start the analysis from scratch, with a very crabbed interpretation of the lead sheet and assertions unconstrained by the record or tested by any form of cross examination. App. Dkt. 20. To the extent it merits any consideration, this amicus brief at most shows that experts may regarding substantial similarity, creating a triable issue of fact” (United States Court of Appeals, P: 40, 2016).

Jury conclusion:

“We will not second-guess the jury’s application of the intrinsic test.” Three Boys, 212 F.3d at 485. Regardless, the trial record here more than adequately supports the District Court’s conclusion that it “cannot be found, that the jury’s conclusion that the two works have intrinsic similarity was against the clear weight of the evidence.” ER29” (United States Court of Appeal, P: 79, 2016).

Gaye’s estate get damages:

“The Gayes accepted the District Court’s remittitur of the jury’s award of $4 million in actual damages to $3,188,527.50 and its remittitur of the jury’s award of $1,610,455.31 in profits against Williams to $357,630.96” (United States Court of Appeal, P: 86 ,2016). “Based on her analysis applying industry custom and practice and her vast experience, Stern concluded the use of Give by Blurred would have resulted in a 50% licensing fee being granted to the Gayes if a license had been negotiated before release of Blurred” (United States Court of Appeal, P: 89, 2016).

T.I. also liable:

“It is undisputed that Harris and the Interscope Parties were part of the chain of distribution for Blurred. This includes Harris’s role as a owner of the copyright who authorized the distribution. It follows that if Blurred infringed the Gayes’ copyright, which the jury found it, Harris and the Interscope Parties were liable as a matter of law” (United States Court of Appeal, P: 95, 2016).

Jury award Gaye’s estate:

Here the jury’s award of actual damages and lost profits to the Gayes means the jury necessarily found that Blurred infringed the Gayes’ copyright. Only confusion as to which parties bore the responsibility for that infringement can explain its failure to find Harris and the Interscope Parties liable. The District Court reasonably concluded that failure to give an instruction clearly defining the scope of distributor liability caused the inconsistent verdicts, and that the verdicts could be corrected in a way that followed both the law and the jury’s intent” (United States Court of Appeal, P: 96,2016).

So one of the biggest producers of our times have got a verdict of copy infringement of used material in this case, use of a song from Marvin Gaye; which happen to create one of the biggest hits of 2013. Pharrell Williams as the Producer of the beat, Robin Thicke as the main singer and with feature of T.I. or Clifford Harris Jr. that we’re all part of the hit song. The one song that both Pharrell and Williams claimed to be inspired by Gaye, still the song after analysing and use of musical expertise show how similar the tracks are.

Later after the first litigations that lead to this and after first verdicts of copyright infringement he told the press this: “Thicke had a great answer for his GQ interview, telling the lawyer, “With all due respect, I was high and drunk every time I did an interview last year.” In fact, Thicke said, “Every day, I woke up, I would take a Vicodin to start the day and then I would fill up a water bottle with vodka and drink it before and during my interviews.” Robin says he’s now drug free, telling the Gaye family lawyer, “I’ve been sober for the last 2 months … When your wife leaves you, it gives you good reason to sober up.” (TMZ, 2014). So the musician now tries to deflect the facts of how they we’re inspired to make the track, now that the process we’re in action than he was a drinking and doped artist who didn’t know what he was saying. His lifestyle we’re blurry to take responsibility for the inspiration behind the blurred lines hit. Which is a beautiful feature, but doesn’t make the courts sing and dance; the evidence and the affidavits do.

So the verdict of the Ninth Circuit Court of California clearly followed the line of the musicians taking inspiration, we’re doing more than so and didn’t licence the rhymes and beat of the Marvin Gaye “Got To Give It Up” when making the “Blurred Lines”. If the guilty party who is under Thicke Parties had asked for permission and licenced by the Gaye’s estate like Recording Artist do all the time. They use their Recording Companies and their legal teams together with publishing agents who fix the use of a sample to create new songs. That shouldn’t be new for either party in the Thicke Party. Pharrell Williams, Robin Thicke and T.I. has all been on records that are sampled and has gotten permission to use parts of other tracks into making a new hit record.

The same could been done by the men behind “Blurred Lines” instead they tried to copy somebody else’s work without permission and without licence. If they had offered in advance 50% on royalty on sales the Recording of the hit song would been fine and fixed. Instead they wanted to legally battle the Gaye’s Estate. Something they righteously lost. Peace.

Reference:

UNITED STATES COURT OF APPEALS FOR THE NINTH CIRCUIT – ‘PHARRELLWILLIAMS, MOREWATER FROM NAZARETH PUBLISHING, INC. VS. FRANKIE CHRISTIAN GAYE, ET AL’ (22.12.2016) – Appeal From Judgment Of The United States District Court For The Central District Of California (Hon. John A. Kronstadt, Presiding).

Ludovic Hunter-Tilney – ‘The Life of a Song: ‘It’s the Hard Knock Life’ (10.04.2015) link: https://www.ft.com/content/fbf3bec4-ce64-11e4-86fc-00144feab7de

TMZ – ‘I WAS TOO WASTED ON VICODIN To Write ‘Blurred Lines’ (15.09.2014) link: http://www.tmz.com/2014/09/15/robin-thicke-drugs-blurred-lines-alcohol-vicodin-marvin-gaye/

Tyrese and Dr.Dre celebrate Beats sold to Apple Inc.

This video was posted two weeks ago, but now the report of 3 billion buyout of Beats is finally established. So now its true, Dr. Dre is getting his payoff of the company he started with Jimmy Iovine. The now former Interscope boss. So now it’s time to celebrate Dr. Dre and now we certainly know why! We’ll never see the day of light of the famous – never coming out album: ‘Detox’!

Here is the BBC article:

http://www.bbc.com/news/business-27613243

Peace!

Kan man kjøpe lykke?

Vi lever i ett rike i disse dager, der folkesykdommen er ikke å NAVE. Ei heller å bli direkte rik, selv om det blir spilt enorme summer på Norsk Tipping og andre plasser. Avisoverskriftene er dystre samtidig som de ofte predikerer enkle faktum. Ikke drikk brus og et fet mat, da blir du feit. Spar penger og drikk den beste vinen. Tren best mulig og kjøp de rette kremene.

Vi lever i ett kongerike hvor fantasien om ren lykke kan hende. At våres hjem skal bli ett shangri-la- et tra-lalalala. Der alt er perfekt. Men før dette må vi alle stikke innom Kiwi å kjøpe alt billig, stikke innnom ARK/Libris å skaffe den nyeste magiske boken som skal leses. Veien videre er på et desverre fult senter. Kjøpe merkeklær, smykker, klokker og blomster. Når du har fullført disse så må man innom IKEA, Tilbords og Brun og Blid. For å bli perfekt.

Lykke og det perfekte, det  finner du og trenger på ditt lokale senter. Kvadrat, Sørlandssenter, Moa, Liertoppen, AMFI etc.

Lykken og drømmen. Drømmen om lykke. At den kan kjøpes. Fås. Skaffes. Komme til deg. At du kan bli perfekt eller ha en premium opplevelse. Å som jeg hater det ordet: Premium – la meg sable det ned som en pirat. Stjele ordet og voldta det. En opplevelse utenom det vanlige, får du sjelden når du kjøper kopi-papir eller eplejuice.

Sorry, å stikke innom senteret gir deg ikke lykke. Du ser enormt mange produkter, salgspersoner, resturanter, kaffeer nesten fylt og kaffekoppen koster en liten formue. Merkeklærbutikkene fylt til randen, Dressmann med eldre herrer sjekker om McGordon jeansen er i slaget, orkideer på salg i blomsterbutikken, supermarkedet med fantastisk utvalg av mat, leketøysbutikk med variert utvalg, DVD og Musikk forhandler som har mer en Justin Beiber og Sylverster Stallone boks. Slikt er et senter. Senter fult av butikker med utvalg, Bestemt utvalg av store kjeder. Kjeder eid av kjøpmenn og aksjonær som ser profitt som den hellig Gud. Samtidig som de selger deg og meg historien: kjøper du av oss. Vil du være lykkelig og leve perfekt. Perfektsjon kommer med disse produktene. Du kan ikke leve uten disse. Du trenger de, de vil løse alt. Alt vil bli bedre om du har eksepsjonelle produktene. Bare husk å komme innom senteret.

Senteret, handlegatens død. Lokalbutikkens død. Sentraliseringen, konsernenes seier. Store kapitalismen siste slagferd. Ikke bare logistikkens markedes motiver. Selskapers jakt etter flere kroner i kassen. Lokale og nøysomheten er død. Begravd. De estetiske og ekte er vekke. Kortkjørt og skakkkjørt er henger i sammen. Lettere å få tak øl fra Thailand enn det som er produsert på sørlandet. Ironisk? Nei, fakta. Perfeksjonisme.

Lykken skal være det. Tror jeg det. Jeg tviler. Tviler veldig. Jeg tror ikke man kan kjøpe.. lykke eller perfeksjon. Dette er ting du kan oppnå. Lykke er i øyeblikken du tilbringer med mennesker du digger å være med, som du er glad i og ser hvordan vi forandrer oss. Perfeksjon oppleves. Når man klarer å gjøre ting man ikke trodde du skulle få til. Slik som første gang man klarer å mekke pizza uten å kjøpe bunnen, men lage den fra bånn. Det er perfekson. Derfor er jeg lei meg på veiene av vårt kongerike, hvor det virker som man kan faktisk kjøpe – LYKKE! Kjøpe LYKKE! Tror ikke det, ei heller er det ikke mulig å kjøpe lojalitet. Lojalitet får du etter å bygge opp tillit over tid til de du skal ha lojalitet av. Derfor, kommer det og går kjeder, fordi du kan ikke reklamere lojalitet. Det kan du bare bygge opp ved nøysomhet. En grunn til hvorfor Rimi sliter. Ikke fordi de selger en historie om lykke, men fordi de klarer ikke å få folk til å bli lojale eller komme tilbake.

Jeg blir ikke kjøpt,å unngår senter hvis jeg kan, ikke fordi vil være sær- bare fordi jeg kjøper ikke historien om at lykken er til salgs, akkurat som lojalitet, perfeksjon er ikke produkt som kommer ved å kjøpe merkeklær og den nyeste Cden fra Interscope. Peace.

PS: Dette blogginnlegget har ingen lykkelig ende, denne er ikke en lykkelig og glamourøs Hollywood klisjee, denne er den virkelig verden som ikke kan kjøpes, men oppleves.

%d bloggers like this: