Entertainment
Gaye’s Family Attempts to Stop ‘Blurred Lines’ Distribution

In this Tuesday, March 10, 2015 file photo, Marvin Gaye’s daughter, Nona Gaye, left, and his ex-wife, Jan Gaye, take questions from the media outside Los Angeles U.S. District Court, after a jury awarded the singer’s children nearly $7.4 million after determining singers Robin Thicke and Pharrell Williams copied their father’s music to create “Blurred Lines.” (AP Photo/Nick Ut, File)
LOS ANGELES (AP) — Marvin Gaye’s family wants to put a stop to “Blurred Lines.”
Gaye’s children filed an injunction in court Tuesday to prevent the copying, distributing and performing of the hit song featuring Pharrell, Robin Thicke and T.I.
Pharrell and Thicke were ordered to pay nearly $7.4 million to three of Gaye’s children after a jury determined last week that the performers copied elements of the R&B icon’s 1977 hit “Got to Give It Up.”
Gaye’s family also sought Tuesday to amend the verdict to include rapper T.I., whose real name is Clifford Joseph Harris Jr., as well as labels Universal Music, Interscope Records and Star Trak Entertainment.
The injunction against “Blurred Lines” could give Gaye’s family leverage to negotiate for royalties and other concessions, such as songwriting credits.
“With the digital age upon us, the threat of greater infringement looms for every artist,” the family said in a statement released Wednesday. “It is our wish that our dad’s legacy, and all great music, past, present, and future, be enjoyed and protected, with the knowledge that adhering to copyright standards assures our musical treasures will always be valued.”
“Blurred Lines” was the biggest hit of 2013. It sold more than 7 million tracks in the United States, topped the pop charts for months and earned two Grammy Award nominations.
Copyright 2015 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.
Activism
OP-ED: AB 1349 Puts Corporate Power Over Community
Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.
By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.
These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.
Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.
Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.
That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.
California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.
Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.
Activism
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Activism
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