Mike D and Ad-Rock of the Beastie Boys got (almost) everything they asked for: The two surviving members of the trio asked for up to $2.5 million in damages, and won $1.7 million in a copyright violation case against Monster Energy beverages.
Tag: Beastie Boys (1-10 of 36)
And the Beastie Boys vs. GoldieBlox saga continues.
After GoldieBlox, a toy company, created a video about female empowerment set to a lyrically altered version of Beastie Boy’s “Girls,” the company took a preventative action in suing the band in November. GoldieBlox claimed that including the song in their video fell under “fair use.”
The Beastie Boys then responded in an open letter, saying: “As creative as it is, make no mistake, your video is an advertisement that is designed to sell a product, and long ago, we made a conscious decision not to permit our music and/or name to be used in product ads. When we tried to simply ask how and why our song ‘Girls’ had been used in your ad without our permission, YOU sued US.”
GoldieBlox quickly removed the video and wrote an open letter of its own, claiming, in part: “Our hearts sank last week when your lawyers called us with threats that we took very seriously. As a small company, we had no choice but to stand up for ourselves. We did so sincerely hoping we could come to a peaceful settlement with you.”
However, it seems that didn’t satisfy the Beastie Boys as they have now filed a lawsuit of their own. The lawsuit claims copyright infringement and states, “GoldieBlox has engaged in the systematic infringement of intellectual property from numerous popular music groups, including Beastie Boys.” Among that list of music groups, the lawsuit makes mention of Queen, Daft Punk, Kaskade, Avicii, and more.
It’s looks like the little legal kerfuffle between the Beastie Boys and GoldieBlox is coming to its conclusion.
It all began when GoldieBlox, a company that sells educational toys for young girls, appropriated the Beasties favorite “Girls” in one of their commercials, which quickly went viral. The Beastie Boys’ Mike D and Ad-Rock — noting the trio’s longstanding commitment to keep their songs out of ads (which was also a stipulation in the late Adam Yauch’s will) — responded with legal threats and an open letter to the company explaining their side of the story.
Now GoldieBlox has conceded. According to their own open letter, posted this morning, the company has pulled the ad in question, and they’ve kindly requested that the Beasties not pursue them in court. Read their full message below:
One week ago, Miley Cyrus left the nation reeling after her performance of “We Can’t Stop” and “Blurred Lines” at the Video Music Awards. Parents watched in horror as the girl they remembered as Hannah Montana twerked in a teddy-bear leotard, gyrated on Robin Thicke‘s crotch in nothing more than a creamsicle bikini, and rubbed her nether-regions with a phallic foam finger. The whole display was provocative, pointless, and, for most viewers, shocking.
But in all actuality, Cyrus’ deliberately vexing presentation wasn’t shocking at all. “We Can’t Stop” is a natural extension of the “Can’t Be Tamed” philosophy that Cyrus has been peddling since 2010. And by the same token, the song — in its irreverent disregard of all people in the name of a good time — is the crystallization of pop music’s ideals over the past year. In the wake of fun.‘s “We Are Young,” pop has quickly become a medium that worships its own youth unabashedly. Granted, pop music has always heralded youth (tellingly, Justin Timberlake, 32, was given a legacy prize at this year’s VMAs) — but it’s never been so self-aware about it.
“It’s not just about being like, ‘We don’t care what people say,'” Cyrus said of “We Can’t Stop” during a Billboard cover shoot in June. “It’s about living for right now.” In the same interview Cyrus said the single’s edgy video was meant to resonate with young people: “I know that we all live for those nights right now. We’re all young,” she said. “I want to talk to my fans about that.” That may sound like a shallow conversation, but currently, it’s the chosen topic in much of 2013’s pop music. READ FULL STORY
The Beastie Boys’ Adam Yauch rapped that he wouldn’t “sell my songs for no TV ad.” His will shows he wanted to make sure that held true after his death, too.
“In no event may my image or name or any music or any artistic property created by me be used for advertising purposes,” says the will, filed this week in a Manhattan court. Yauch, known for his good nature as well as his raspy voice in one of hip-hop’s groundbreaking acts, died of cancer in May. He was 47.
Also known as MCA, Yauch was a founding member of the Beastie Boys, a group that helped hip-hop gain mainstream attention in the 1980s. As white guys from Brooklyn in a genre with few credible white performers at the time, they emerged as prankster pioneers and scored such hits as “Brass Monkey,” “No Sleep Till Brooklyn” and “(You Gotta) Fight for Your Right (To Party!)” They had four No. 1 albums and sold more than 40 million records.
Family, friends, and fans of the Beastie Boys are dealing with founding member Adam “MCA” Yauch’s death in all sorts of ways. Many have gone out to buy (or re-buy) their favorite Beasties albums; some New Yorkers are even petitioning to rename a Brooklyn park in Yauch’s honor.
But Yauch’s comrade Adam “Ad Rock” Horovitz is still only coping with the loss. “I’m walking the dog and I’ll start crying on the street,” he told Rolling Stone. “It’s pretty f—ing crazy.”
Horovitz opened up in his first interview since his friend and bandmate’s May 4 death, fondly remembering him as both an artist and as a person.
“Yauch was in charge,” he says of MCA’s position in the Beastie Boys. “He was smarter, more organized.”
“He had that extra drive to see things through,” he continued. ” We each had our roles. One of his was the make-it-happen person.”
Horovitz also outlined the give-and-take process that made the group the enduring collaborative effort it became.
“Everything was split three ways,” he explained. “Except we had veto power. If you really hated something, you could be [like], ‘That can’t happen.'”
One example he offers is was when Yauch wanted the cover of their hit album Ill Communication to be a painting of a tree, an idea swiftly vetoed by Horovitz and Mike D. “I said, ‘Anything is better than that tree.'” The painting, Alex Grey’s “Gaia,” wound up finding a home in the album’s liner notes instead; see it below: READ FULL STORY
Like most music awards shows, the Billboard Music Awards are so not about the statuettes that are doled out. The show — which aired live last night on ABC from the MGM Grand Hotel, with hosts, Modern Family stars Julie Bowen and Ty Burrell — is typically more about everything but the awards: performances, tributes, collaborations, and other sundry craziness.
Hell, even the fashion — hello to Miley Cyrus’ barely-there suit jacket — is more important than the prizes! And that was no different this year. Just a handful of the 46 awards were actually given out during the show (LMFAO dominated), which was jolted to life with performances from Katy Perry, Cee Lo Green, and Linkin Park; tributes to Robin Gibb, Donna Summer, Whitney Houston, the Beastie Boys’ Adam Yauch, and Stevie Wonder; a collaboration between Stevie Wonder and Alicia Keys; and a heartfelt speech by Houston’s daughter Bobbi Kristina Brown.
Here are 20 essential takeaways from the evening:
It’s been a bad week in the Beastie Boys’ corner of the universe.
A day before founding member Adam Yauch’s death, the band was hit with a lawsuit over the use of samples on two of their best-regarded albums, Paul’s Boutique and Licensed to Ill.
The suit, filed by the label Tuf America, alleges that the two albums illegally sample the band Trouble Funk’s 1982 songs “Drop the Bomb” and “Say What.” Both the Beasties and Capitol Records were named in the suit, some of which is available on All Hip-Hop for your viewing displeasure.
So what are the offending Beastie songs? The suit name checks Licensed to Ill‘s “Hold It Now Hit It” and “The New Style” and Paul’s Boutique‘s “Car Thief” for cribbing from “Drop the Bomb,” as well as that album’s “Shadrach” for stealing elements from “Say What.”
Tuf America wants the matter to go to trial, but in the meantime, let’s give the songs in question a listen to see (slash hear) what all the hubbub’s about:
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