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Why Rick Ross Will Never, Ever, Win His Lawsuit Against LMFAO

Rick RossFor years now, Freeway Rick Ross, the real life drug dealer upon whom rapper Rick Ross bases his stage persona and kingpin image, has been trying to nail Ross (the latter) for making millions by selling his music under an appropriated drug lord persona. Last week, a California judge dismissed Freeway Rick’s most recent appeal, citing the rapper’s creation of original works that only used the name as a jumping-off point. Freeway Rick was not amused.

In a statement issued following the judge’s rejection of his appeal, the real Freeway Rick Ross remarked: ”There is a teachable moment about the state of our community when a man who has a respectable job as a correctional officer, has to recreate himself in my former image as a large-scale kingpin to gain what he feels is social acceptance as a successful man.” Though Freeway Rick’s indignation does have a point here, he misunderstands Ross’ motivations. Ross was never thinking about perceived social acceptance as a successful man. He was thinking about actual success. And he actually achieved it by making insane amounts of money because he understands the fan inclination to want to believe that artists’ music reflects a truthful depiction of their lives.

Hip-hop culture has always been based on the appropriation and re-interpretation of communal objects from the past. It’s called sampling. And hip-hop artists have been doing it in with their stage personas forever, pretending to be harder and more dangerous than they actually are. So when Ross took on the symbolic identity of a historical drug dealer, he was doing just that: “sampling” someone else’s life and then turning it into something new. And that is exactly why Rick Ross’ recent lawsuit against LMFAO for interpolating the lyric “Every day I’m hustlin” from his 2006 song “Hustlin” is so ironic, because when LMFAO jokingly altered that line, they were doing the exact same thing. Though Ross’ lawsuit states that LMFAO’s similar lyric is ”an obvious attempt to capitalize on the fame and success of “Hustlin,” the reality of the situation is a bit more nuanced.
Continue reading ‘Why Rick Ross Will Never, Ever, Win His Lawsuit Against LMFAO’

LMFAO Sued By Rick Ross

LMFAOYou just can’t have a bit of success anymore without someone suing you. Rick Ross and and Jermaine Jackson have filed a copyright infringement lawsuit against LMFAO over similarities between the band’s “Party Rock Anthem” lyrics and Ross’ song, “Everyday I’m Hustling.”

A lawsuit filed in Florida federal court states, “The use of Hustlin’ in ‘Party Rock Anthem’ is readily apparent, despite the slight change from ‘Everyday I’m hustlin’ …’ to ‘Everyday I’m shufflin’…” and constitutes, inter alia, the creation of an unauthorized derivative work.” The lawsuit goes on, “The phrase is so important to the success of ‘Party Rock Anthem,’ that LMFAO launched a highly successful clothing line, Party Rock Clothing, that features the phrase on T-shirts and other clothing items.”

You can read the full court document here, and listen to the two songs below. Continue reading ‘LMFAO Sued By Rick Ross’

SkyBlu (of LMFAO) Releases “Pop Bottles” Solo Single

Being in one of the most successful and popular pop music duos in decades must be a rough life, right? I mean, one look at the legacy of LMFAO singles and it’s clear these guys have lived a life of struggle and hard earned success. “Shots,” “Party Rock,” and of course, “I’m In Miami Trick,” all convey relatable tales of the working man rising above the daily grind to achieve better things.

Just kidding. These guys love to party and we all know it, so it should come as no surprise that their solo albums are showcasing much of the same.

Last week we brought you the debut of “Bring Out The Bottle,” the debut solo single from LMFAO’s Redfoo, and this week we have the first track from the other have of the group, SkyBlu. His single, coincidentally entitled “Pop Bottles,” carries a similar party heavy vibe as Redfoo’s and features a guest appearance from Mark Rosas. You can stream the song below.

While some fans may have worried the hiatus of LMFAO meant the duo would be heading in separate sonic directions, the debut singles from Redfoo and SkyBlu tell a very different story. If anything, it looks like we’re in for even more party anthems in 2013 as a result of the members working individually. Stay tuned for more information on their solo careers in the coming weeks.

If you like LMFAO check out OurStage artist Circuit Assassins.

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LMFAO’s Redfoo Releases “Bring Out The Bottle”

After the surprising news of LMFAO‘s break earlier this year, fans finally have a new party rock jam to put on repeat thanks to one half of LMFAO. Redfoo, the 37-year-old “Sexy and I Know It” singer, has released his first solo track since the split called, “Bring Out The Bottle.” It may not be quite what LMFAO fans are used to but for those craving electronic dance vibes, a little auto-tune and really, something new to dance to, it does the trick. Check it out after the jump. Continue reading ‘LMFAO’s Redfoo Releases “Bring Out The Bottle”’

PSY’s K-Pop Invasion: The Continued Decline of Western Pop Courtesy of the East

As if A-Pop wasn’t bad enough already. Just when one might have thought that American pop, with all its auto-tuned voices and fake plastic beats, couldn’t possibly make the eyes and ears bleed more, it’s about to get worse. Nicki Minaj is set to bombard us with more of her overexposure via a series of reality specials on E!, her new gig as a 12th-season American Idol judge, and, of course, more music, while Britney Spears, of all vocally challenged singers, is already sitting in judgment of wannabe A-Pop idols on The X Factor.

And last but not least scary, Ke$ha’s back, and going by the early success of “Die Young,” the first single from her upcoming sophomore album Warrior (out November 30), she’s here to stay—at least for the time being. Continue reading ‘PSY’s K-Pop Invasion: The Continued Decline of Western Pop Courtesy of the East’

Sizzle Pop

 

Goodnight Argent

Pop music is great, but if you’re looking for emotional depth, you may not find it in an LMFAO song. So when Chase Manhattan was recalibrating after his band short-circuited midway to their big breakthrough, he turned his focus to making pop music with substance. Enter Goodnight Argent, a nod to an old studio on Argent Road in the band’s hometown of Pasco, Wash. The band crafts burning, soulful pop, part Justin Timberlake, part Ben Gibbard. “Those Were The Days” is a smoldering look at summer love, driven by a simple back beat and panging piano. “When the sun comes up will the stars remember our love?” Manhattan wonders. Then, like an admonishment, the band fires back with “Don’t Get Sentimental, ” a track filled with spacy sequences and piercing guitars. The only thing these guys have in common with LMFAO is that they’re sexy and they know it.

Sound And Vision: The Diminishing Returns of the No. 1 Single

No. 1 with a bullet: Ah, that once-relatively elusive and exclusive room at the top. The holy grail for the pop single, it used to be as high an honor and as highly desirable as gold and platinum albums. But what does it mean when a star as marginally talented as Katy Perry can hit No. 1 five times on Billboard’s Hot 100 in the space of one album (six times in one and a half albums, if you count Teenage Dream: The Complete Confection)? Or when Rihanna, who still hasn’t scored a chart-topping album in six tries, can do in less than six years what took Madonna a dozen (hit No. 1 on the Hot 100 one time short of a dozen)?

Does Teenage Dream have, well, a dream of ever being as iconic as Michael Jackson’s Bad (which spawned five No. 1 hits and thus shares the record for most No. 1 singles from one album with Teenage Dream), George Michael’s Faith (which produced four) or even Adele’s 21 (a contemporary that launched three), none of which had to be re-released as a special expanded edition in order to pad its hit list and sales tally? For all her No. 1 singles, will any Rihanna album thus far ever be considered as landmark as Madonna’s 1983 self-titled debut through 1989′s Like a Prayer, which covered a comparable career time frame? Rihanna’s yet to even break through the double-platinum glass ceiling.

Then there’s Carly Rae Jepsen’s “Call Me Maybe,” which just spent nine weeks atop Billboard’s Hot 100 singles chart, making it the biggest song of the summer, if not 2012. It also makes her a surefire nominee for Best New Artist at the 2013 GRAMMY Awards ceremony. She’ll face stiff-ish competition from Gotye and fun., who spent eight and six weeks at No. 1, respectively, with their respective singles, “Somebody That I Used to Know” and “We Are Young.” Continue reading ‘Sound And Vision: The Diminishing Returns of the No. 1 Single’

Exclusive Q and A: Eva Simons Talks Honesty, Touring With LMFAO, And Crazy Collaborations

It’s rare to see an artist go from piano lessons to party rocking, but Eva Simons is not your typical pop star. The 28-year-old Dutch singer-songwriter found her musical passions at an early age. Simons was classically trained pianist who graduated from the Conservatorium van Amsterdam. Her monster dance hit with Afrojack, “Take Over Control,” which she also co-wrote, topped the iTunes dance charts globally, and has sold nearly a million downloads in the U.S. alone, while the video has racked up more than 10 million views on YouTube. Having already collaborated with big stars like will.i.am and Chris Brown, Simons is ready to introduce herself to the American pop scene at the perfect time, as electronic dance music continues to take the world by storm. We caught up with Simons to talk about staying true to herself, being on the Identity Tour with LMFAO, and her ideas for the future of her career. Continue reading ‘Exclusive Q and A: Eva Simons Talks Honesty, Touring With LMFAO, And Crazy Collaborations’

 


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