Photo: David Corio/Michael Ochs Archives/Getty Images
Biz Markie in 1988
Remembering Biz Markie: 5 Signature Songs From The Hip-Hop Legend
Celebrate the life and legacy of Biz Markie through five of his signature songs, which collectively paint a portrait of the hip-hop legend and helped define an era of popular music
With earworm hooks, sing-along choruses and a campy style, Biz Markie had a unique style that set him apart from his hip-hop peers. The foundational artist died this week, at age 57, leaving behind a joyful void in the rap world.
The Queens, New York, native, formerly known as Bizzy B Markie, a moniker stemming from his birth name, Marcel, and shortened to Biz, rocketed to success via the Juice Crew collective. The monster of his legacy is the classic "Just a Friend," which hit the Top 10 on the Billboard Hot 100 chart in 1990 and cemented Biz Markie as a bona fide superstar. But aside from the ubiquitous sensation of his most successful single, his legacy includes an innovative and broad tapestry of hip-hop skills—rhyming, beatboxing and producing—as well as a contagious sense of humor that earned him a reputation as a "proudly goofy rapper" and the "Clown Prince of Hip-Hop" moniker.
To celebrate the life and legacy of Biz Markie, here are five of his signature songs that paint a portrait of the hip-hop legend and helped define an era of popular music.
"Just a Friend"
Released as part of his 1989 sophomore album The Biz Never Sleeps, "Just a Friend" immediately shot into the cultural zeitgeist, and it continues to stay there to this day, despite the ongoing evolutions in rap styles, tastes and generations. A lighthearted lyrical rumination of someone wondering if their lover is true, the track's opening salvo is a perfect example of the storytelling nature that defined '80s-era hip hop. "Have you ever met a girl that you tried to date," Markie asks as the song's famous piano loop kicks in. "But a year to make love she wanted you to wait?"
Borrowing lyrics, a melody and a piano hook from the 1968 Freddie Scott song "(You) Got What I Need," "Just a Friend," and its memorably campy music video, subsequently catapulted Biz Markie into the mainstream. "A lot of people didn't like the record at the beginning," he later explained in a 2019 interview, which celebrated the song's 30th anniversary. "They would say, 'Biz is trying to sing? Aw, the record is wack.' But I wasn't supposed to sing the [chorus]. I asked people to sing the part, and nobody showed up at the studio, so I did it myself."
Before "Just a Friend" became Markie's signature song, he was known for a spate of successful tracks that helped introduce him to an underground audience. He chronicled his bubbling career, which was then just below the surface of the mainstream, in his 1988 track "Vapors," which peaked at No. 80 on Billboard's Hot R&B/Hip-Hop Songs chart. Co-written with his cousin, the influential rap impresario and fellow Juice Crew member Big Daddy Kane, "Vapors" was a commentary on the nature of becoming a rising success.
"Biz had this whole concept of people catching the vapors," Kane said in 2014, referring to an inside joke about people suddenly wanting to be around Biz Markie as his notoriety grew. "He told me about the idea for the song and he wanted to talk about people catching the vapors. People that was frontin' at first and acting funny and all of a sudden they wanna be in your corner and be down with you."
Many marquee artists from the early hip-hop era commonly saw their star subsequently fade from relevance as musical tastes changed throughout the years. That wasn't the case for Biz Markie, who maintained a certain cache even as the decades went on, a legacy that has been bolstered by his stacked résumé of film and television appearances and synchs—whether starring in Sharknado 2: The Second One or landing his music on TV shows like "It's Always Sunny in Philadelphia'' and "Empire." "Gooey Gangsta," which sees Biz Markie beatboxing, featured on the 2019 soundtrack for the animated TV series "Adventure Time," on which he voiced the character Snorlock the Beatboxing Slug; the track exemplifies his enduring appeal.
"Nobody Beats the Biz (Best Of)"
Featured on Biz Markie's 1988 debut album Goin' Off, "Nobody Beats the Biz (Best Of)," a takeoff of the then-popular ad slogan "Nobody Beats the Wiz," showcases the ragtag nature of early hip-hop as the song shines a light on the insult back-and-forth game known as the Dozens. Produced by hip-hop pioneer Marley Marl, the leader of Biz Markie's Juice Crew, both the album and song, the latter of which samples the Steve Miller Band's "Fly Like an Eagle," defined late-'80s New York hip-hop culture, cemented Biz's lyrical style, and helped bolster his popularity. Biz Markie also gets political on the track, spitting, "Reagan is the Pres, but I voted for Shirley Chisholm," referring to the first major-party Black candidate to run for President of the United States.
For evidence of Biz Markie's influence on rap culture, look no further than the late-'90s prince of the genre Will Smith, whose 1999 sophomore solo smash Willenium features Biz on the track "So Fresh" alongside Slick Rick. Smith wasn't the only Biz Markie disciple: Everyone from Snoop Dogg, who covered "Vapors" in 1997, to Questlove of the Roots sang Biz's praises. "I'm using all the education he taught me," Questlove wrote of Biz Markie's indelible impact on his life and career in an Instagram post following the news of the rap legend's death. "We will miss him. But he will be here forever."
Image courtesy of the GRAMMY Museum
GRAMMY Museum To Celebrate 50 Years Of Hip-Hop With 'Hip-Hop America: The Mixtape Exhibit' Opening Oct. 7
The new exhibit honors the 50th anniversary of hip-hop through an expansive and interactive exploration that features artifacts from legendary artists including the Notorious B.I.G., Tupac Shakur, LL Cool J, and more.
The GRAMMY Museum is celebrating the 50th anniversary of hip-hop this fall with the newly announced Hip-Hop America: The Mixtape Exhibit, an immersive, interactive, 5,000-square foot experience celebrating the multifaceted world of hip-hop and the global impact and influence of the genre and culture. Launching Saturday, Oct. 7, and running through Wednesday, Sept. 4, 2024, the exhibit will feature expansive exhibits exploring hip-hop music, dance, graffiti, fashion, business, activism, and history as well as artifacts from hip-hop pioneers like Tupac Shakur, the Notorious B.I.G., LL Cool J, and many more.
Additionally, the exhibit features a one-of-a-kind Sonic Playground, featuring five interactive stations that invite visitors of all ages to partake in DJing, rapping and sampling, all essential elements comprising hip-hop culture. Additional virtual and in-person education and community engagement programs will be announced at a later date.
Exploring the countless ways hip-hop music and culture has dominated popular culture over the last 50 years, Hip-Hop America: The Mixtape Exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project. They include:
Felicia Angeja Viator, associate professor of history, San Francisco State University, author of ‘To Live And Defy In LA: How Gangsta Rap Changed America,’ and one of the first women DJs in the Bay Area hip-hop scene
Adam Bradley, Professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of ‘The Anthology of Rap’
Jason King, Dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU
Dan Charnas, Associate Arts Professor, NYU Clive Davis Institute of Music, and author of ‘Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm’
The co-curators worked in conjunction with GRAMMY Museum Chief Curator and Vice President of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.
Hip-Hop America: The Mixtape Exhibit is an educational journey through several key themes:
Innovation: Explore how hip-hop artists have innovatively used technology, from transforming turntables into musical instruments to pioneering sampling techniques.
Sounds of Hip-Hop: Experience the diverse sounds of hip-hop in four themed studios, showcasing the evolution of production, the intersection of hip-hop and car culture, the craft of hip-hop lyrics, and the influence of R&B.
Fashion: Dive into the world of hip-hop fashion, featuring iconic clothing, jewelry and style.
Regionalism: Discover 14 hip-hop scenes across the United States, showcasing the importance of local and regional contributions.
Entrepreneurialism: Learn about the transformation of hip-hop from a back-to-school party in the Bronx to a multi-billion-dollar global industry.
Media: Discover the role of media in shaping hip-hop's development, from radio stations to pioneering shows like "Yo! MTV Raps."
Community: Explore how hip-hop has brought people together over the last 50 years, with an interactive ‘Hip-Hop America’ playlist featuring 200 songs that trace the genre's evolution.
Highlights from Hip-Hop America: The Mixtape Exhibit include:
The Notorious B.I.G.'s iconic 5001 Flavors custom red leather peacoat he wore in Junior M.A.F.I.A.'s music video "Players Anthem"
Kurtis Blow's original handwritten lyrics for his 1980 hit single, "The Breaks," the first gold-certified rap song
Tupac Shakur's handwritten essay "Give Me Liberty or Give Me Death," circa 1992
Two outfits designed by Dapper Dan, Harlem fashion icon: 1) a half-length black leather jacket worn by Melle Mel (Melvin Glover, b. 1961) in performance at the 1985 GRAMMY Awards; and a black-and-yellow leather bucket hat and jacket worn by New York hip-hop artist Busy Bee (David James Parker)
Egyptian Lover's gold Roland 808, the beat-making tool
LL Cool J's red Kangol bucket hat
Hip-Hop America: The Mixtape Exhibit is a key event taking place as the world is celebrating 50 years of hip-hop this year. The origins of hip-hop can be traced back to Aug. 11, 1973, when DJ Kool Herc DJed a birthday party inside the recreation room of an apartment building located on 1520 Sedgwick Avenue in the South Bronx, New York City. This history-making date marks the birth of hip-hop and is the reason why we're celebrating hip-hop's 50th anniversary this year. The 50th anniversary of hip-hop means artists, fans, and the music industry at-large are celebrating the momentous milestone via hip-hop concerts, exhibits, tours, documentaries, podcasts, and more around the globe across 2023.
Visit the GRAMMY Museum website for more information regarding advanced ticket reservations for Hip-Hop America: The Mixtape Exhibit.
Photo: Kevin Winter/Getty Images
5 Takeaways From Quavo's New Album 'Rocket Power'
Five years after his first solo release, Quavo's 'Rocket Power' explores loss, faith, and memories of the artist's late nephew Takeoff — a poignant tribute that marks a new creative plane for the Georgia-born artist.
Tragedy struck the hip-hop world in November 2022 when Migos star Takeoff was killed during an early morning shootout in Houston. Among the hardest hit by the loss was one-third of the famed trio and his uncle Quavo, who witnessed the shooting and sat by Takeoff's side as he passed outside a nearby bowling alley.
Since Takeoff's death, Quavo has largely stepped away from public view. He first resurfaced with an emotional tribute to his late nephew, "Without You," in January, sporadically releasing four more singles in subsequent months. But on Aug. 18, Quavo delivered his biggest tribute yet: the aptly titled album, Rocket Power, which explores the emotional scars that have formed nearly a year after Takeoff's passing.
Arriving nearly five years after his debut solo album, 2018's Quavo Huncho, Rocket Power is a welcomed sign of Quavo's artistic maturation. The 32-year-old rapper melds his effortless melodicism and hit-making powers to create a cohesive body of work filled with soul-stirring jams and ear-catching trap bangers.
To welcome Huncho's newest solo effort, we compiled five early takeaways from the 18-track project Rocket Power.
The Album Honors Takeoff's Life From Childhood To The GRAMMY Stage
From the intro "Fueled Up" to the album's closing track, Rocket Power points to the life and legacy of Takeoff, who's featured on songs "Patty Cake" and "Back Where It Begins." On songs like "Hold Me," Quavo details the misery and emotional pain he and others have faced in the months following Takeoff's unexpected death: "I just need you to hold me/ Listen and feel my heart closely." Quavo also points to other instrumental figures in his life, asking them to come to his aid in moments of darkness.
On the title track, "Rocket Power," Quavo acknowledges the gut-wrenching thoughts and vulnerability he's experienced in this time of grief, and the toll it's placed on both him and his family. "Thinking about my nephew while I'm rolling some trees/ Mama said she's crying, and she's crying in her sleep."
While references to Takeoff's passing are sprinkled throughout the project, "Patty Cake" gifts Migos fans a welcomed look back at the two artist's influence and chemistry. And for many, hearing Taekoff's voice on the interlude "Narkedo Speaks" (which is pulled from a Drink Champs interview) reflects the kind of figure he was in rap: "I ain't even have a plan B, I made myself not have a plan B on purpose/Just so I can fulfill my plan A."
Limited Features Magnify Takeoff Tribute
Rocket Power only includes five features, a vast difference from Quavo's debut album, which boasted features on over half of its 19 tracks.
Among the artists featured on the project — which includes Future, Young Thug, Hunxho and BabyDrill — the most significant moments come from the artist the album honors. With Takeoff's presence on "Patty Cake" and "Back Where It Begins," the songs flash to his often understated talents and role as the Migos' lyrical foreman. It also points to how instrumental he was in Quavo's life, as the rapper touches on their past memories growing up in Lawrenceville, Georgia.
With fewer features, Quavo's vision for Rocket Power pierces through more vividly, and the project's more intimate and conceptualized moments reach their apex. While stars like Young Thug and Future elevate tracks like "Focused" and "Back Where It Begins," songs like "11.11" and "Not Done Yet" would lose much of its emotional fuel with another artist's presence.
Rumors Aside, Offset And Quavo's Relationship Appears To Be On The Upswing
It's hard to ignore Offset's absence on Rocket Power. He's not featured nor mentioned throughout much of the album, but "11.11" provided fans with some clarity on the status of their relationship.
Following the 2022 release of Quavo and Takeoff's collaborative album, Only Built For Infinity Links (which was released just weeks before Takeoff's passing), rumors about a falling out between Quavo and Offset emerged. The two first alleviated reports of their feud — including that they fought backstage at the 2023 GRAMMYs — by reuniting for a performance at the 2023 BET Awards in June.
And nearly two months after their reunion, Quavo further suggests he and Offset are in a better place on "11.11": "5:30 Huncho and Set get up early, and go out and go get that bag together (Set)/ Who the f— gonna put us together, can't nobody put this s— back together/ So stay the f— out of the middle, lil fella/ We always goin' be that/ We fam forever (Migos)."
Quavo Leans Further Into His Faith
Throughout the album, Quavo points to his faith as a source of emotional strength and how it's tethered his family together in the wake of recent tragedy. On "Not Done Yet," the artist raps, "Giving it all I got, don't know what God got for me (God)/ Holding my head up high, I hope y'all really proud of me (High)."
While the "Lost" rapper has never shied away from his faith, Rocket Power is the most Quavo has ever melded it into his music. As much as it's a snapshot of his current mental state, the religious references point to the new creative plane Quavo is currently on.
Quavo Is A Legitimate Solo Star
Following Quavo Huncho, some hip-hop fans questioned Quavo's ability to carry an album as a solo artist. But if there were any doubts, drop them. He's unquestionably a star capable of carrying on his own.
While Quavo is credited for his infectious hooks and street hits, Rocket Power proves he can effectively draw from his life experiences and transfer those emotions to create gut-wrenching records. It also proves he can effectively pair these kinds of records together into a larger conceptual project, and expand his artistry beyond his melodic mastery.
Throughout the album, Quavo firmly commands each of the 18 tracks. He delivers a harmonious (and effective) mix of stadium-level anthems, emotion-fueled sentiments, and hard-hitting trap songs — proving that he'll not only continue the legacy he and Takeoff built together, but continue to evolve creatively on his own.
Photo: Andersen Ross Photography Inc
The 10 Most Controversial Samples In Hip-Hop History
The use of samples has influenced artists and DJs for decades. It's also been fodder for lawsuits and ire — read on for 10 of the biggest sampling controversies in hip-hop, from 2 Live Crew and the "Amen Brother" break, to Young Nudy.
Hip-hop would not exist without sampling. Over its 50 years of existence, rappers, producers, and DJs have taken old music and made it new again, remixing and reinterpreting the creativity of previous generations and folding it into the culture of today.
But not everyone is flattered when a rapper samples their song. The history of hip-hop is rife with legal battles over unauthorized samples — from the genre’s early wild west days to the modern era. Some of these controversies have had lasting implications for the entire industry.
Below, we take a look at some of the most controversial samples in hip-hop.
Sugarhill Gang – "Rapper’s Delight" (1979)
Before "Rapper’s Delight," hip-hop was predominantly a live art form. Rappers rarely recorded and preferred to perform for a live audience, improvising freestyle raps over funk and soul records spun by DJs. The use of samplers and drum machines was not yet widespread. Nevertheless, Sylvia Robinson, a singer and studio owner who wanted to take advantage of the trend. She assembled rap group the Sugarhill Gang and invited some studio musicians to record a sound-alike version of the instrumental from Chic’s "Good Times" for them to rap over.
The song hadn’t even reached the charts yet — though it would become the first hip-hop song to breach the Billboard Top 40 — before Nile Rodgers of Chic heard an early version at a club in Manhattan. Ironically, several members of the Sugarhill Gang as well as Fab Five Freddy had joined the band onstage at a show weeks earlier to freestyle during "Good Times." Rogers didn’t take kindly to the song being knocked off, and he and Chic bassist Bernard Edwards immediately threatened legal action, with a settlement leading to them being credited as co-writers.
The song broke hip-hop into the mainstream, but it also set the stage for many similar cases of producers asking for forgiveness rather than permission and facing the consequences.
Afrika Bambaataa & Soulsonic Force - "Planet Rock" (1982)
Another example of "sampling without sampling," "Planet Rock" wasn’t a straight re-recording of an earlier song like "Rapper’s Delight." After witnessing the popularity of songs by Kraftwerk in New York’s nightclubs, producer Arthur Baker and DJ Afrika Bambaataa decided to fuse the German group’s electronic music with hip-hop.
"Planet Rock" fuses the beat from "Numbers" with the melody from "Trans-Europe Express," with Bambaataa and the Soulsonic Force rapping above, but Baker recreated both with his own instruments. They never asked permission from Kraftwerk, however, and when the band reached out to Tommy Boy Records, the label decided to give them a dollar for every copy sold, raising prices to recoup the cost.
The song birthed a genre, electro, and influenced everything from Detroit techno to Miami bass. Years later, Kraftwerk sued another musician over unauthorized sampling, a case that went all the way to Germany’s highest court in 2016.
The "Amen" Break (recorded 1969)
When Washington, D.C.-based soul band the Winstons recorded "Amen, Brother," they couldn’t have predicted the seven-second drum break played by Gregory Coleman would go on to become one of the most iconic, oft-replicated sounds in music.
And yet that’s exactly what happened: After being included in drum break compilations such as Ultimate Breaks and Beats designed for DJs to loop and sample, the "Amen Break" made its way into iconic hip-hop songs from N.W.A. ("Straight Outta Compton"), Mantronix ("King of the Beats,"), 2 Live Crew ("Feel Alright Y’all"), and eventually even the "Futurama" theme song. But the break really exploded in the UK, where British dance music producers, who needed faster tracks for the exploding rave movement, sped the break up. They chopped it until "Amen Brother" was barely recognizable, with other famous breaks like "Funky Drummer" and "Think" getting similar treatment.
Jungle, and its splinter genres drum and bass, and breakcore, resulted, and the breakbeat revolution it unleashed now influences modern pop acts such as PinkPantheress and NewJeans. According to WhoSampled, "Amen, Brother" has been sampled in 6,174 songs, which may be a low estimate.
As the saying goes, however, revolution eats its children. Gregory Coleman, the Winstons drummer who originated the break, never saw a cent of royalties from any of it. He was homeless at the time of his death in 2006, and according to Winstons bandleader Richard Lewis Spencer he had no idea the break had made such an impact. Spencer himself has run hot and cold on the break’s impact, sometimes calling its use plagiarism, but he at least was able to make some money from it: As the last living member of the Winstons, he received $37,000 from a 2015 GoFundMe campaign aimed at repaying some of the lost royalties before he died in 2020.
Biz Markie - "Alone Again" (1991)
In the late '70s and throughout the 1980s, hip-hop flourished creatively as a result of creative sampling. Producers such as Public Enemy’s Bomb Squad created records filled with dozens of samples — a collage-like approach that would influence artists like DJ Shadow and the Avalanches. And yet in 1991, a lawsuit over an uncleared sample threatened to snuff out the entire art form.
Biz Markie, famous for comedic songs such as "Just A Friend," had been dragged into federal court along with Warner Bros. Records for using a portion of "Alone Again (Naturally)," a nearly-forgotten pop song from the ‘70s by Gilbert O’Sullivan. The case was a disaster for Markie and for creativity in general. The court ruled that because the label had reached out to the sample copyright holders, who withheld permission to use the song, and then released it anyway, they were guilty of blatant and willful copyright infringement.
The defense’s argument that unauthorized sampling was widespread in the music industry was rebuffed by Judge Kevin Duffy. In his ruling — which opens by quoting the biblical commandment "Thou Shalt Not Steal" — Duffy wrote that: "The defendants...would have this court believe that stealing is rampant in the music business and, for that reason, their conduct here should be excused."
Markie was ordered to pay $250,000 in damages and referred to (but never charged by) a criminal court on grounds of theft, reeking of racist paternalism. Yet the primary upshot of the decision — that any unapproved sample constitutes copyright infringement — was even more damaging, creating a chilling effect across hip-hop that prevented artists from making full use of the practice’s creative potential. Warner Bros. took the song off Markie’s album, and the rapper famously titled his next record All Samples Cleared!
2 Live Crew - "Pretty Woman" (1989)
Is Luther Campbell, the don dada of Miami bass maestros 2 Live Crew, smarter than the entire Warner Bros. legal team that bungled the "Alone Again" case? Judging by the fact that he managed to drag an uncleared sample case from a much more famous artist than Gilbert O’Sullivan all the way to the Supreme Court — and win — the answer is yes.
Like Biz Markie, 2 Live Crew had asked permission to use a sample – in this case "Oh! Pretty Woman" by Roy Orbison – and was rejected. Perhaps this came as a result of their less-than-family-friendly reputation, as the group had been in and out of the headlines fighting obscenity charges over best-selling album As Nasty As They Wanna Be. Nevertheless, they released the song anyway, and when Orbison’s label eventually sued, Campbell came up with a clever defense: fair use.
Campbell declared the 2 Live Crew song, "Pretty Woman," was a parody of Orbison’s original, and therefore the sample constituted a legal fair use. The case went all the way to the Supreme Court, which reversed an earlier appeals court ruling that said the song couldn’t have been a fair use because of its commercial nature. They also agreed with the initial federal district court ruling that said the 2 Live Crew song was not similar enough to Orbison’s to constitute wholesale infringement.
Jay-Z feat. UGK - "Big Pimpin" (2000)
Hov ended up regretting some of the sexist lyrics on this collab with Houston’s Bun B and Pimp C, but the reason he and Timbaland ended up in court over "Big Pimpin" was a contentious sample. The producer had already forked over $100,000 to sample "Khosara Khosara" by Egyptian composer Baligh Hamdi, but this wasn’t enough for Osama Ahmed Fahmy, Hamdi’s nephew.
Citing the Egyptian legal concept of "moral rights," Fahmy claimed in a 2005 lawsuit that the song was unlicensed because Jay-Z and Timbaland had failed to ask permission from Hamdi’s heirs. The suit was left in legal limbo for years before a California judge finally let Fahmy proceed, by which point Linkin Park had also been pulled in due to a mashup of "Big Pimpin" with their single "Papercut." During his testimony four years later, Jay-Z declared he had been unaware that there was even a sample in the song, saying "Timbaland presented me with a track. I didn’t even think about there being a sample."
The case was finally settled in 2018 when an appeals court upheld the original summary judgment in favor of Jay-Z, by which point the song was nearly 20 years old.
Kanye West - "Blood On The Leaves" (2013)
Quite a few of the samples used on Yeezus, Kanye’s incendiary, famously-rushed 2013 album, ended up being unauthorized. West fielded lawsuits from Hungarian prog rock band Omega (sampled on "New Slaves") and the Ponderosa Twins Plus One (sampled on "Bound 2") for using their music without permission. But it was "Blood on the Leaves" which attracted the most attention for its brazen (and fully authorized) appropriation of Nina Simone’s cover of "Strange Fruit," originally made famous by Billie Holiday.
That a famous anti-lynching anthem was used by a mega-famous rapper to decry the materialism and excess rife within hip-hop might have ruffled a few feathers — some conservative critics even argued it was an anti-abortion song — but the song received almost universal praise.
Robin Thicke ft. T.I. and Pharrell - "Blurred Lines" (2013)
True, "Blurred Lines" is not exactly a hip-hop track, but it does feature two rappers, and while not exactly a sample, Robin Thicke and Pharrell’s much-too-liberal "borrowing" of Marvin Gaye’s "Got to Give it Up" changed the music industry irreparably. Certainly, the song was hugely controversial, opening up a pre-#MeToo discourse over its objectification of women and glorification of rape culture that ultimately led to bans. But it was the similarities to Gaye’s song, flaunted by Willams and Thicke in the press, as well as a preemptive legal action against the Marvin Gaye estate, that had a more lasting, damaging impact.
Williams had argued in his initial complaint against the Gaye family that their claim was not based on specific musical elements, but on the face value similarity of the two songs. However, a jury ruled unanimously in favor of the family. The case essentially rewrote the legal precedents of musical copyright law overnight, broadening the scope by which a song might be considered infringement. Thanks to the "Blurred Lines" suit, a musician may live in fear of legal predation simply because their new song sounds vaguely similar to one from 30 or 40 years ago.
Meanwhile, massive investments are being made into older music, partially to make up for this creative chilling effect.
Juice WRLD - "Lucid Dreams" (2017)
There’s nothing particularly incendiary about the plaintive guitar sample from Sting’s "Shape of My Heart" that forms the backbone of Juice WRLD’s emo rap hit. When producer Nick Mira revealed that Sting had taken 85 percent of the rights for the song, however, it became a demonstration of how sampling has become a way for established artists to exploit newer talent.
It also attracted a lawsuit from pop-punk band Yellowcard, who cited similarities to their track "Holly Wood Died." Juice WRLD himself downplayed the situation, saying "There’s always more money to be made." The suit was later dropped after the 21-year-old rapper’s tragic early death in December 2019.
Young Nudy feat. Playboi Carti - "Pissy Pamper" (aka "Kid Cudi") (2019)
One of the most successful unreleased songs in recent memory is also a cautionary tale for keeping leaks under control. The song originally entitled "Pissy Pamper" was a Pi’erre Bourne-produced track originally meant for Sli’merre, his collaborative mixtape with Young Nudy.
With its prominent use of a loop from "Tasogare" by Japanese singer Mai Yamane (best known to anime fans for "Cowboy Bebop" ending theme), the track regretfully never made the record due to sample clearance issue. But somehow, a leaked file made its way onto Spotify, where its killer component, an evocative "baby voice" verse from Playboi Carti at the peak of pre-Whole Lotta Red hysteria.
The rest is history: internet memes, reuploads with Nudy’s parts removed, and so on. Thanks to social media, the song is a generational touchstone that shouldn’t legally exist.
Photo: Simone Joyner/Getty Images
New Music Friday: Listen To New Songs From Travis Scott, Britney Spears, NewJeans & More
July 21 marks a big day of new music releases, including star-studded collaborations like Travis Scott, Bad Bunny and The Weeknd's "K-POP" and a new EP from NewJeans. Hear some of the biggest new songs on GRAMMY.com.
Like so many New Music Fridays before it, July 21 brought a cornucopia of fresh and unique sounds from all over the map.
Want to hear Travis Scott, Bad Bunny and the Weeknd get mellow and psychedelic? Raring to hear the latest dispatch from a One Direction member? Want a taste of A$AP Rocky's long-awaited next album? Is a Britney-shaped chunk missing from your musical life? Want to hear the future of K-pop?
To these and other questions, this slew of tunes will provide answers. In the below roundup, hurtle into the weekend with wildly divergent sounds from some of music's top acts — many with sizable GRAMMY legacies.
Travis Scott, Bad Bunny, The Weeknd — "K-POP"
A week before nine-time GRAMMY nominee Travis Scott's Utopia livestream event at the Pyramids of Giza in Egypt on July 28 — which will debut his new studio album of the same name — he dropped his sixth collaboration with four-time GRAMMY winner the Weeknd.
"K-POP," the album's lead single, is rounded out by three-time GRAMMY winner Bad Bunny, in his first collab with Scott. This triple-threat track has a stony, smoldering feel, with luxurious production from Boi-1da, among others — and it's elevated by its panoramic, transportive video.
ZAYN — "Love Like This"
The former One Direction member continues his solo legacy with "Love Like This," his first new single since 2021.
Therein, ZAYN extols the virtues of throwing caution to the wind when it comes to infatuation: "Everything is on the line, but I would rather be dead/If it's gonna mean a life that's lived without you, baby," he sings. "I think I gotta take that risk/ 'cause I cannot go back."
In the video, ZAYN putters around on a motorcycle on a gorgeous day. Previously signed to RCA, the singer recently moved to Mercury Records; could "Love Like This" be the ramp-up to a new album? If so, "Love Like This" offers a tantalizing taste of what's to come.
will.i.am, Britney Spears — "MIND YOUR BUSINESS"
After the termination of her conservatorship, GRAMMY winner Britney Spears dipped a toe back into her music career in 2022 with "Hold Me Closer," a duet with Elton John that includes elements of "Tiny Dancer," "The One" and "Don't Go Breaking My Heart."
Now, she's back in earnest with "MIND YOUR BUSINESS," a sassy, pulsing, electronic duet with seven-time GRAMMY winner will.i.am of Black Eyed Peas fame. The track marks the pair's fourth team-up, and first since 2014's "It Should Be Easy" from Spears' Brtiney Jean.
NewJeans — "ETA"
GRAMMY.com called NewJeans one of 10 K-Pop rookie girl groups to watch in 2023, and keeping ears on them has paid off. On July 21, they released their new EP, Get Up, to critical acclaim: NME declared that "no one can hold a candle to K-pop's rising wonder girls."
Concurrently with the release of Get Up, they released a joyous, iPhone-shot music video to its effervescent single, "ETA," in which a group of girls find a friend's boyfriend making moves on another lady.
Chris Stapleton — "White Horse"
Chris Stapleton's last album, 2020's Starting Over, helped the country crooner make a clean sweep at the 2022 GRAMMYs. At that ceremony, he won golden gramophones for Best Country Solo Performance ("You Should Probably Leave"), Best Country Song ("Cold") and Best Country Album ("Starting Over").
On Nov. 10, the eight-time GRAMMY winner will release his next LP, Higher. As he revealed the news on July 21, Stapleton also unveiled a majestic rocker of a single, "White Horse." "If you want a cowboy on a white horse/ Ridin' off into the sunset," he sings thunderously, "If that's the kinda love you wanna wait for/ Hold on tight, girl, I ain't there yet."
A$AP Rocky — "RIOT (Rowdy Pipe'n)"
For his latest track, A$AP Rocky dropped a stylish, charming short film for Beats depicting a harried diaper run (a fitting narrative for the new dad, soon to be dad of two, with partner Rihanna). That only contains a minute of the song, though; it's worth luxuriating in the whole thing.
To an uneasy, lumbering beat, Rocky extols a lifestyle to die for ("My wife is erotic/ I'm smokin' exotic/My whip is exotic") as well as his unparalleled connections ("I just call designers up, I free ninety-nine it").
Backed by 13-time GRAMMY winner Pharrell, "RIOT (Rowdy Pipe'n)" is said to be the first single from A$AP Rocky's long-awaited fourth album, Don't Be Dumb; if the quality of the track is any indication, it'll be worth the long haul.