J Dilla’s 10cc Sample on Donuts Is the Subject of Copyright Infringement Lawsuit “Workinonit,” which samples 10cc’s 1974 song “The Worst Band in the World,” was used by Netflix in two Dave Chappelle specials from 2017 By Madison Bloom
September 1, 2020
In 2006, J Dilla released his classic album Donuts days before his death. The LP featured a song called “Workinonit,” which samples 10cc’s 1974 song “The Worst Band in the World.” Now, Music Sales Corporation and Man-Ken Music, Ltd. (the latter of which owns the 10cc composition) are suing Universal Polygram International Publishing Inc. and E.P.H.C.Y. Publishing, for copyright infringement, Pitchfork can confirm.
According documents viewed by Pitchfork, the complaint was originally filed on March 20 of this year. In 2017, J Dilla’s “Workinonit” was used by Netflix in two separate Dave Chappelle specials from (Deep in the Heart of Texas and The Age of Spin). The complaint alleges that “Workinonit” “contains exact or substantially similar copies of multiple quantitatively and qualitatively substantial sections of the Composition,” adding, “J Dilla did not seek or obtain a license to use the Composition in any fashion.” The complaint also refers to Dilla’s song as “a work derivative of the Composition.”
The complaint also claims that defendants licensed the song to Netflix after “being informed of its infringing content.” Plaintiffs state that a demand letter was sent to defendants on July 18, 2017 regarding the licensing of the track, however “the parties have been unable to reach any resolution, thus requiring the filing of this action.”
Plaintiffs seek to order defendants to “destroy or deliver up for destruction all materials in Defendants’ possession, custody, or control used by defendants in connection with Defendants’ infringing conduct.” The cost of damages sought by the plaintiffs have not yet been determined.
_______________________________________________________________________________________ Soul music is bad, bad, bad!
5. "Egon doesn’t cut corners." In response to Reply # 4
He gets heat from the hardcore, weirdo collector dudes...but I like his approach. He and Madlib helped gain legitimate exposure for obscure artists across the globe. Licensing the music and reissuing their albums goes a long way.
6. "ah." In response to Reply # 5 Tue Sep-08-20 10:34 PM by Options
I hadn't considered Egon's influence. yep, taking his reissue work into account, listing the samples makes perfect sense. and I doubt Madlib cares much about having his sources exposed. it's a good look for everyone involved.
8. "now that you mention it" In response to Reply # 7
I've heard the show you're referring to and I remember him saying something like that. I wouldn't call it "asshole shit," tho — I mean, that's the crate digger culture. someone *not* caring about that would be a noteworthy exception.
...at least when it comes to samples. if you wanna know a track ID from just a song in a mix and you're told to catch a flight to Brazil, then yeah, you got a point.
>I've heard the show you're referring to and I remember him >saying something like that. >I wouldn't call it "asshole shit," tho — I mean, that's the >crate digger culture. someone *not* caring about that would >be a noteworthy exception. > >...at least when it comes to samples. if you wanna know a >track ID from just a song in a mix and you're told to catch a >flight to Brazil, then yeah, you got a point.
lol seemingly that's the impression i got from him.
while guys like giles, garvey and others playlist their sources with none of that "look it up yourself" stupidity.
and i always gave my sources during my college radio shows. its not a trade secret.
unless he's hiding from copyright infringements, then that's something different.