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Tag Archives: Pharrell Williams

Copying, Lifting, and Cultural Appropriation

19 Thursday Mar 2015

Posted by decollins1969 in 1, Boy @ The Window, culture, earth, wind & fire, Eclectic, eclectic music, music, New York City, Politics, Pop Culture, race, Youth

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"And The Beat Goes On" (1979), "Blurred Lines" (2012), "Boadicea" (1987), "Got To Give It Up (1977), "Holiday" (1983), "Ready or Not" (1996), Al Jolson, Authenticity, Copying, Copyright Infringement, Cultural Appropriation, Dance, Disco, Elvis Presley, Enya, Lifting, Madonna, Marvin Gaye, Multiculturalism, Pharrell Williams, Plagiarism, Pop Music, R&B, Robin Thicke, Stealing, The Fugees, The Whispers


Pharrell Williams and Robin Thicke at the 56th Annual GRAMMY Awards, Beverly Hills, CA, January 25, 2014. (Larry Busacca/Getty Images, via http://images.musictimes.com/). Qualifies as fair use under copyright laws, via Getty Images agreement with CC-SA-3.0.

Pharrell Williams and Robin Thicke at the 56th Annual GRAMMY Awards, Beverly Hills, CA, January 25, 2014.
(Larry Busacca/Getty Images, via http://images.musictimes.com/). Qualifies as fair use under copyright laws, via Getty Images agreement with CC-SA-3.0.

I’m sure all of you have heard about the recent court decision that gave Marvin Gaye’s estate a $7.3 million award, finding that Pharrell Williams and Robin Thicke committed copyright infringement stemming from their 2012 hit single “Blurred Lines.” They lifted the melody and rhythm for their song from Marvin Gaye’s 1977 single “Got To Give It Up.” The two songs do sound similar enough, and interviews with Williams do show that he was heavily influenced by Gaye’s work. I find myself agreeing with the jury on this because of Williams’ Whiteness rhetoric about being the “new Black” last year, as well as Thicke’s constant cultural appropriation in his videos and music.

The decision, though, made me think about how much copying has gone on in music over the years. It made me think about the first time I heard Madonna, off her first self-titled album, on the airwaves in the fall of ’83. It was her first Billboard Top 40 single “Holiday.” Except that the first dozen or so times I heard it, I thought at first it was “And The Beat Goes On,” a late ’79/early ’80 disco hit from the group The Whispers.

It was the first time I realized that music artists could copy each other, or at least, have similar sounds, rhythms, tones and other musical arrangements in their songs. The lyrics were obviously different, but both “And The Beat Goes On” and “Holiday” were “forget-the-cares-of-this-world” dance-pop songs with heavy R&B influences.

I’d wondered for years whether Madonna ever gave The Whispers any formal credit for sampling their music for one of her very first tracks. I did find an answer in the Madonna (1983) album’s liner notes. Nope, not a single mention, not a word of acknowledgement. But John “Jellybean” Benitez was mentioned as producer. There’s no way in this world that he and the other folks who worked on “Holiday” didn’t know who The Whispers were or hadn’t heard their song “And The Beat Goes On.” It’s possible that Madonna herself didn’t know, but given her constant credits to the disco era, I seriously doubt that, too. Take a gander below, folks, and tell me how similar the two songs were/are:

Keep in mind, though, this was before Madonna had become “Like A Virgin” Madonna, “Material Girl” Madonna, and “Vogue” Madonna. And copying, sampling, and lifting was more acceptable in the early 1980s than it is today. Especially since at the time, neither The Whispers nor Madonna were music icons. Of course, lifting from relatively obscure Black artists to mainstream a song or music genre is nothing new. Just ask Al Jolson and Elvis Presley!

Thirteen years later, The Fugees released their big hit, “Ready Or Not” (1996). As soon as I heard it, I knew they had sampled Enya’s “Boadicea” (1987), because I’m that kind of eclectic music enthusiast. They didn’t give Enya credit in their initial liner notes, either, and hadn’t obtained permission to use her music in their song. Enya threatened to sue over this rather obvious copyright infringement, and The Fugees and Enya settled the issue out of court.

By ’96, the rules for sampling other music artists’ work had become tightened, and Enya herself was a well-known, if not iconic, new age music artist. The up-and-coming Fugees picked the wrong Irish singer to copy without permission or acknowledgement.

What does all of this mean? For starters, you should never plagiarise someone whose work is well-known. Vanilla Ice, meet Queen and David Bowie. The Verve and “Bittersweet Symphony” from ’97? Let me introduce you to The Rolling Stones!

But the “Blurred Lines” decision means much more than the message that one should steal from an unknown without a major music contract instead of stealing from Marvin Gaye. The legal decision blurs the distinction between illegal sampling and inappropriate cultural appropriation. Really, Madonna’s use of The Whisper’s “And The Beat Goes On” is just as blatant, and so was her appropriation of disco, R&B and other Black and Latino dance rhythms between ’82 and ’93. Unlike Pharrell Williams and Robin Thicke, though, Madonna’s appropriation wasn’t seen as such, at least during her first years of fame. Heck, I knew more than a few Black folk who though Madonna was either Black or biracial prior to the Like A Virgin (1984) album, likely because like me, they didn’t have cable to watch MTV ad nauseam.

I guess that Pharrell’s and Robin Thicke’s act has worn thin with the fickle public. This may well point to the larger fact that mainstream popular music and the artists that are creating today’s music are about as creatively collaborative and eclectic as a dunker in basketball with no jumpshot and no defensive skills. This isn’t your father’s White Soul, aka, Michael McDonald, Darryl Hall & John Oates, or even Kenny Loggins, working with Earth, Wind & Fire or Kool & The Gang. Today’s music artists can only do their music one way, and need “inspiration” to “create” a “new sound.” One that is too often lifted from the past, yet never placed in context, and sampled with and without permission.

Whiteness, Where “That’s So Raven” Meets “Real Time”

11 Saturday Oct 2014

Posted by decollins1969 in 1, Academia, culture, Eclectic, Patriotism, Politics, Pop Culture, race, Religion, Youth

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"New Black", African-American, American Narcissism, Atheism, Ben Affleck, Bill Maher, Black, Blackness, Claude Steele, Culture of Poverty, Culture of Violence, Daniel Patrick Moynihan, Disidentification Hypothesis, Islamophobia, Labels, Narcissism, Pharrell Williams, Racism, Raven-Symoné, Real Time with Bill Maher, Reza Aslan, Stereotype Threat, unspecial American, Whiteness, Xenophobia


Black square, or Black is the new Black, June 2014. (http://kennyali.com/).

Black square, or Black is the new Black, June 2014. (http://kennyali.com/).

Why we ever give voice to the vapid and vain I still don’t fully understand. In the past week, we’ve allowed Raven-Symoné (of The Cosby Show and That’s So Raven fame) and Bill Maher (host of HBO’s Real Time with Bill Maher and a mediocre stand-up political comedian) to determine our discourse on race, racism, Islam, atheism and terrorism. Proving once again the power of Whiteness in our racially narcissistic nation.

Raven-Symoné certainly isn’t the first Black celebrity or entertainer to declare herself “not African-American” or Black, to Oprah or to the rest of the world. Morgan Freeman’s been making statements rejecting labels like “Black actor,” the term “African American,” and even Black History Month, going as far back as interviews in support of Glory (1989) and Shawshank Redemption (1994) (of course, he also was making the point that he’s an American first). Raven-Symoné isn’t even the first Black entertainer to say they’re “not Black” or “not African American” in 2014. Pharrell Williams holds this distinction, as he allegedly represents the “New Black,” whatever colorblind racist nonsense this is.

Raven-Symoné on Oprah's Where Are They Now, October 5, 2014. (http://www.billboard.com). Qualifies as fair use - picture directly related to subject matter, and of low resolution.

Raven-Symoné on Oprah’s Where Are They Now, October 5, 2014. (http://www.billboard.com). Qualifies as fair use – picture directly related to subject matter, and of low resolution.

It all points to a phenomenon I’ve been calling the “unspecial American” over the past twelve years. The idea that we can discard labels, histories and cultures in an effort to make ourselves unique or special individuals. All of this is born out of a racial narcissism, one which afflicts the most vulnerable to this psychosis — the famous and the wannabe famous. Maybe there’s a bit of internalized racism to this, too — that’s clearly speculation to be sure. But that obsession to be unique, to declare oneself above constructs and labels, but then to latch on to the term “American” as if the world might forget? It reflects on some level stereotype threat, not to mention the defensive posture of someone like Raven-Symoné attempting to preserve their income and elite social status.

Maher’s take on religion, especially Islam, isn’t unique. The idea that he can claim this his Islamophobia has nothing to do with race — his own Whiteness/Jewishness or that of his brown-skinned Semitic cousins — is what makes Maher’s xenophobic argument a specious one. Maher’s is a culture of violence argument, one that attempts to combine the foundational tenets of Islam with the actions of terroristic jihadists in a sweeping indictment of at least half a billion people. HBO and Maher’s friends and fans have let him get away with this ridiculous line of thinly veiled racism and Islamophobia for years. Yet if Maher made the same kind of argument about Blacks, poverty and crime — the culture of poverty hypothesis proposed by the likes of the late Daniel Patrick Moynihan in the 1960s — he’d probably lose his show.

"Violence is not our culture," 2011. (Wendy Harcourt via http://http://www.ips.org/).

“Violence is not our culture,” 2011. (Wendy Harcourt via http://http://www.ips.org/).

That Maher has no sense of history or understanding of human nature isn’t surprising. He’s a stinking comedian, not a historian, political scientist, religious studies professor or philosopher. At this stage of his career, I’d make a better stand-up comic than Maher would a critic of any culture or religion. That Maher has found himself in arguments with Ben Affleck and Reza Aslan is telling. Maher in his late-fifties has become Ronald Reagan — an arrogant White male who firmly believes in the primacy of his brand of White culture above all others.

Both Maher and Raven-Symoné should take a long look at history and learn from it. Raven-Symoné should learn that Black celebrities who deny the existence of racial constructs tend to crash into a few barriers during their lifelong journeys. Maher should look at violent examples of atheism — the French Revolution, the Spanish Civil War, Stalinism, among others — and ask if these were the product of narcissism and violent repression or the product of a culture of violence based too heavily on the reliance on the scientific method for ultimate truths. And we should continue to ask ourselves why we ever take people like Raven-Symoné and Maher seriously at all.

Race and The OJ Simpson Effect at 20

12 Thursday Jun 2014

Posted by decollins1969 in 1, Carnegie Mellon University, culture, Eclectic, Mount Vernon New York, Pittsburgh, Politics, Pop Culture, race, Sports, Work, Youth

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1994 NBA Finals, Covenant Church of Pittsburgh, Dialogue on Race, Economic Inequality, Game 5, Houston Rockets, Internalized Racism, Men's Retreat, New York Knicks, Newsweek, Nicole Brown Simpson, O.J. Simpson, OJ Simpson, Pharrell Williams, Race Riots, Racial Stereotypes, Racial Stigma, Racism, Ron Goldman, Time Magazine, Trial, White Bronco


O.J. Simpson on the covers of Newsweek and Time Magazine, (the picture on right altered to make Simpson appear darker and caused an outcry), June 27, 1994. (Theo's Little Bot via Wikipedia). Qualifies as fair use due to low resolution of image and relevance to subject matter.

O.J. Simpson on the covers of Newsweek and Time Magazine, (the picture on right altered to make Simpson appear darker and caused an outcry), June 27, 1994. (Theo’s Little Bot via Wikipedia). Qualifies as fair use due to low resolution of image and relevance to subject matter.

Today’s the twentieth anniversary of the deaths of Nicole Brown Simpson and Ron Goldman, still officially-allegedly murdered by the once great NFL Hall of Fame running back O.J. Simpson. In five days, it’ll be twenty years since the bizarre police chase of Simpson in a white Ford Bronco with his friend Al Cowlings on I-405 in the Los Angeles area. In the process, he took all of us — the media, the sports world, and anyone who cared about race and justice — on a ride that folks are still talking about two decades later. It had an impact on me in terms of how I saw Blacks and Whites and race. I shouldn’t have been, but I was mildly surprised that so many would become so emotionally caught up in a double-homicide case involving what at one time was one of the world’s most recognizable faces.

That week twenty years ago was my absolute commitment to two events. The NBA Finals between my New York Knicks and the Houston Rockets. And a church retreat for the male members (nearly 100 of us, almost all Black — talk about irony!) of Covenant Church of Pittsburgh. It was to be a week of watching my Knicks play at home and three days in the mountains of Western Pennsylvania at a retreat lodge, in a spirit of learning how to be godly men and of adult male bonding. The first full day of the retreat was June 17. After a day of workshops, prayer, praise, and singing (at least for me and the rest of the men’s choir), we all piled into the rec room to watch Game 5 of the Final. Only to see an overhead shot of a slow-moving white Bronco being trailed by an escort of L.A.’s finest instead of Patrick Ewing, John Starks, Doc Rivers, Charles Oakley, and the rest of the cast of characters from my favorite team.

Screen shot of NBA on NBA coverage of 1994 NBA Finals, Game 5, MSG, New York at Bronco chase of OJ Simpson, I-405 in L.A., June 1, 1994. (SI photos via Tumblr).

Screen shot of NBA on NBA coverage of 1994 NBA Finals, Game 5, MSG, New York at Bronco chase of OJ Simpson, I-405 in L.A., June 17, 1994. (SI photos via Tumblr).

The Knicks won, which was great, but I barely saw the game. They were up 3-2, but would lose the last two games in the next six days in Houston, turning Choke City into Clutch City overnight. But that wasn’t what I was thinking about when it first happen. I hoped that the police wouldn’t shoot Simpson before he had a chance to go to trial. The L.A. riots were just two years before. I feared that the issue of race would be front and center, with Simpson’s issues with his now dead White ex-wife.

What I saw within ten days of the Bronco chase was an artificially darkened Simpson on the cover of Time. I watched as the media condemned Simpson well before the trial. As Blacks were becoming angrier about the coverage. As Whites grew more confident about Simpson being convicted, losing his fortune and fame, and possibly getting the death penalty (or at least, life imprisonment). It was amazing how quickly folks took sides on the issue. My mother proclaimed that O.J. was innocent long before the prosecution botched the trial. Some of my grad school colleagues — all White, mind you — made all kinds of assumptions about where I stood on O.J. Simpson. They didn’t like the fact that I was willing to wait until the trial to make up my mind.

Many have benefitted from the O.J. Simpson effect over the last twenty years. From lawyers to journalists, TV stations and authors, many have reaped benefits and have built careers from the O.J. Simpson trial and verdict. Greta Van Susteren, Dan Abrams, Nancy Grace, Court TV (now TruTV), the late Johnnie Cochran, Alan Dershowitz, Christopher Darden and Robert Shapiro, among so many others. Even Mark Fuhrman got a book and a radio talk show (at least for a while) out of the trial. One could argue that Kim Kardashian, daughter of Simpson defense “Dream Team” lawyer Robert Kardashian, has benefited, albeit indirectly (it’s not as if her father’s a regular on her family’s reality shows, right?).

Conservative media in general received the greatest indirect residuals of all from the murders, trial, and acquittal involving Simpson. The events between June 12, ’94 and October 3, ’95 helped intensify an atmosphere of conservatism, a sense that our nation was out of control. With the acquittal, it made sense to millions for cable and talk radio to increase its coverage of news, especially news with a more “fair and balanced” slant.

National dialogue on race cartoon, July 21, 2010. (Bob Englehart/Hartford Courant).

National dialogue on race cartoon, July 21, 2010. (Bob Englehart/Hartford Courant).

Obviously Simpson hasn’t benefited. Our national dialogue on race hasn’t improved, either. Whites still seemingly want Blacks to be stereotypes and to shut up while entertaining them with our lives and our deaths. Some Black elites still make a point of divorcing themselves from other Blacks and from the world that’s race in America, Pharrell Williams most recently so. And with rapidly increasing economic inequality, it’s a wonder that thousands of Whites haven’t come in to Black and Latino neighborhoods to burn down businesses and beat up and lynch those of us unlucky to encounter their mobs, like they typically did this time a century ago.

All because of the multitude of examples of individual Black success, and occasions of Black-on-White (and especially blond)-woman-violence. Things change, but the cancer that is Whiteness and race remain the same, “a shame and a pitiful,” as my father would say.

Boy @ The Window: A Memoir

Boy @ The Window: A Memoir

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