APPENDIX B: SELECTED SAMPLEOGRAPHY
P-Funk’s music has been sampled in thousands of songs in the hip-hop and modern pop era. Here are a few examples.
Above the Law, “Black Triangle” samples “Eulogy and Light”
Ant Banks, “Pimp Style Gangastas” samples “No Rump to Bump”
Beastie Boys, “Car Thief” samples “I Bet You”
Beastie Boys, “Hey Ladies” samples “Pumpin’ It Up”
Bell Biv DeVoe, “Ghetto Booty” samples “I Got a Thing, You Got a Thing”
Big Daddy Kane, “Get Down” samples “Atomic Dog”
Black Sheep, “Butt in the Meantime” samples “Four Play”
Bone Thugs-N-Harmony, “Mo Murda” samples “I’d Rather Be with You”
Common, “Cold Blooded” samples “Funkin’ for Fun”
The Coup, “Busterismology” samples “Mommy, What’s a Funkadelic?”
The Coup, “Me and Jesus the Pimp in a ’79 Grenada Last Night” samples “Swing Down, Sweet Chariot”
Cypress Hill, “Psychobetabuckdown” samples “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)”
Da Lench Mob, “Guerillas in tha Mist” samples “Flash Light”
Da Lench Mob, “Mellow Madness” samples “Hollywood Squares”
De La Soul, “Millie Pulled a Pistol on Santa” samples “Mommy, What’s a Funkadelic?” and “I’ll Stay”
De La Soul, “Me Myself and I” samples “(Not Just) Knee Deep”
De La Soul, “Potholes in My Lawn” samples “Little Ole Country Boy”
Del tha Funkee Homosapien, “Dr. Bombay” samples “Rumpofsteelskin”
Del tha Funkee Homosapien, “Mistadobalina” samples “(Gloryhallastoopid) Pin the Tale on the Funky”
Dell tha Funkee Homosapien, “What Is a Booty” samples “Pumpin’ It Up”
Digable Planets, “Black Ego” samples “Generator Pop”
Digable Planets, “Escapism (Gettin’ Free)” samples “Mothership Connection (Star Child)”
Digital Underground, “Doowutcchyalike” samples “Flash Light”
Digital Underground, “Heartbeat Props” samples “Freak of the Week”
Digital Underground, “Hip Hop Doll” samples “Funkin’ for Fun” and “Funkentelechy”
Digital Underground, “Humpty Dance” samples “Let’s Play House”
Digital Underground, “Kiss You Back” samples “(Not Just) Knee Deep”
Digital Underground, “Rhymin’ on the Funk” samples “Bootzilla” and “Flash Light”
Digital Underground, “Same Song” samples “Theme from the Black Hole”
Digital Underground, “Sex Packets” samples “The Motor-Booty Affair”
Digital Underground, “Underwater Rhymes” samples “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)”
DJ Jazzy Jeff and the Fresh Prince, “A Dog Is a Dog” samples “Man’s Best Friend”
The D.O.C., “Beautiful but Deadly” samples “Cosmic Slop”
Dr. Dre, “Bitches Ain’t Shit” samples “Adolescent Funk”
Dr. Dre, “The Chronic” samples “Colour Me Funky”
Dr. Dre, “Dre Day” samples “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop),” “The Big Bang Theory,” and “(Not Just) Knee Deep”
Dr. Dre, “Let Me Ride” samples “Mothership Connection”
Dr. Dre, “The Roach” samples “P-Funk (Wants to Get Funked Up)”
Easy-E, “Eazy-Duz-It” samples “Bootzilla” and “A Joyful Process”
EPMD, “I’m Mad” samples “Let’s Take It to the Stage”
EPMD, “Play the Next Man” samples “Sir Nose D’Voidoffunk”
EPMD, “Whose Booty” samples “Loose Booty”
EPMD, “You Gots to Chill” samples “More Bounce to the Ounce”
Eric B.& Rakim, “Lyrics of Fury” samples “No Head, No Backstage Pass”
Erick Sermon, “Hittin’ Switches” samples “Last Dance”
Everlast, “Never Missin’ a Beat” samples “(Not Just) Knee Deep”
Fat Joe, “Say Word” samples “Munchies for Your Love”
Fu-Schnickens, “Back Off” samples “Atomic Dog”
Gang Starr, “Step in the Arena” samples “A Blow for Me, a Toot for You”
Gerardo, “We Want the Funk” samples “Give Up the Funk (Tear the Roof off the Sucker)”
Geto Boys, “Homie Don’t Play That” samples “Pumpin’ It Up”
Ice Cube, “Dirty Mack” samples “Unfunky UFO”
Ice Cube, “Ghetto Bird” samples “Aqua Boogie (A Psychoalphadiscobetabioaquadoloop)”
Ice Cube, “I Wanna Kill Sam” samples “Chocolate City” and “One of Those Funky Things”
Ice Cube, “Man’s Best Friend” samples “Atomic Dog”
Ice Cube, “Say Hi to the Bad Guy” samples “P-Funk (Wants to Get Funked Up)”
Ice Cube, “The Wrong Nigga to Fuck Wit” samples “Flash Light”
Ice Cube, “Who Got the Camera?” samples “I Got a Thing, You Got a Thing”
Ice-T, “Mind over Matter” samples “I Bet You”
Jungle Brothers, “Tribe Vibe” samples “Big Footin’ ”
Jungle Brothers, “What U Waiting 4?” samples “Give Up the Funk (Tear the Roof off the Sucker)”
Kriss Kross, “Freak da Funk” samples “Free Your Mind”
LL Cool J, “Nitro” samples “(Not Just) Knee Deep”
Madvillain, “Raid” samples “Computer Games”
MC Hammer, “Pumps and a Bump” samples “Atomic Dog”
MC Hammer, “Turn This Mutha Out” samples “Give Up the Funk (Tear the Roof off the Sucker)”
Mystikal, “Unpredictable” samples “Sir Nose D’Voidoffunk”
Nas, “One Love” samples “Come in Out of the Rain”
N.W.A, “100 Miles and Runnin’ ” samples “Get Off Your Ass and Jam”
Outkast, “Elevators” samples “Come in Out of the Rain”
Outkast, “Pink & Blue” samples “The Goose”
Paris, “Bush Killa” samples “Atomic Dog”
Pete Rock and C.L. Smooth, “If It Ain’t Rough, It Ain’t Right” samples “Come in Out of the Rain”
Pete Rock and C.L. Smooth, “The Basement” samples “Atomic Dog”
PM Dawn, “Comatose” samples “Atomic Dog”
Public Enemy, “Bring the Noise” samples “Get Off Your Ass and Jam”
Public Enemy, “Nighttrain” samples “Flash Light”
Public Enemy, “911 Is a Joke” samples “Flash Light”
Public Enemy, “Party for Your Right to Fight” samples “Butt-to-Butt Resuscitation” and “Do That Stuff”
Public Enemy, “Revolutionary Generation” samples “Deep”
Redman, “Blow Your Mind” samples “The Big Bang Theory” and “Theme from the Black Hole”
Redman, “So Ruff” samples “Bop Gun”
Ruff Ryders, “Ryde or Die Boyz” samples “I’m Holding You Responsible”
Run-D.M.C., “Bob Your Head” samples “Good Old Music”
Salt-N-Pepa, “He’s Gamin’ on Ya” samples “Chocolate City”
Scarface, “Good Girl Gone Bad” samples “Good Old Music”
Schoolly D, “Godfather of Funk” samples “Give Up the Funk (Tear the Roof off the Sucker)”
Sir Mix-A-Lot, “Sleepin’ Wit My Fonk” samples “The Pinocchio Theory”
Snoop Doggy Dogg, “The Shiznit” samples “Flash Light”
Snoop Doggy Dogg, “Who Am I (What’s My Name)?” samples “(Not Just) Knee Deep” and “Give Up the Funk (Tear the Roof off the Sucker)”
Stetsasonic, “Speaking of a Girl Named Suzy” samples “Atomic Dog”
Tone-Lōc, “Funky Cold Medina” samples “Get Off Your Ass and Jam”
Too $hort, “Hoes” samples “Take Your Dead Ass Home!”
Too $hort, “Gettin’ It” samples “I’d Rather Be
with You”
Too $hort, “It’s Your Life” samples “Dr. Funkenstein”
A Tribe Called Quest, “Ham ’N’ Eggs” samples “Nappy Dugout”
Tupac, “Holler if You Hear Me” samples “Atomic Dog”
Tupac, “Young Black Male” samples “Good Old Music”
UGK, “Diamonds and Wood” samples “Munchies for Your Love”
Warren G, “Regulate” samples “Mothership Connection (Star Child)”
X-Clan, “Earth Bound” samples “Free Your Mind” and “One Nation Under a Groove”
Yo-Yo, “Make Way for the Motherlode” samples “Mothership Connection (Star Child)”
APPENDIX C: STATEMENT OF JANE PETERER THOMPSON
I, Jeanne “Jane” Peterer Thompson, formerly d/b/s Jane Peterer Music Corporation (collectively, JPMC) do hereby declare, state, and affirm as follows.
1. I have personal knowledge of the matters discussed herein and am able to testify as to the matters set forth herein, as called as a witness.
2. I formerly maintained a working relationship with Mr. Armen Boladian (“Mr. Boladian”) and Bridgeport Music, Inc. et al of Southfield, Michigan, and at times other companies under Mr. Boladian’s control, ownership and/or affiliation including Southfield Music, Inc., Bloomfield Music Inc., and Rosuki Music (collectively referred to as “Bridgeport Music”) for approximately 24 years beginning in 1984 and ending in January 2008.
3. During that period of time I worked as an administrator where my primary task was to administer the copyrights of Bridgeport Music.
4. Those duties included, among others:
(i) Filing documents before the U.S. Copyright Office at the request, instructions, and direction of Bridgeport Music and Mr. Boladian.
(ii) Performing administrative duties; and
(iii) Compiling, tracking, and recording royalty account data which included mechanical royalties, synchronization fees, and other income (collectively, “the Royalties”) by song titles on a software program maintained by me for songwriters that Bridgeport music led me to believe were under its contractual control or authority.
I would prepare royalty reports on a semiannual or “semester” basis utilizing a proprietary software product created for this purpose which was purchased and maintained by JPMC and commonly known in the music industry as “Music Maestro.”
5. Specifically, in August 1990, under the direction of Mr. Boladian, I personally filed an assignment agreement with the U.S. Copyright Office in Washington, DC, which transferred and assigned ownership of certain musical works from Malbiz Music, a publishing company owned by George Clinton (Mr. Clinton) to Bridgeport Music. The assignment which Mr. Boladian directed me to file with the U.S. Copyright Office in August 1990 was actually dated March 4, 1982 and contained an addendum document.
6. This August 1990 filing was rejected by the U.S. Copyright Office and returned to me on the basis that the submitted agreement was not original, nor was it notarized. I then forwarded this document, together with the U.S. Copyright Office’s basis for rejecting the filing to Mr. Boladian.
7. In 1990, Mr. Boladian obtained a notary stamp on the March 4, 1982 dated agreement and then refiled the document with the U.S. Copyright Office himself and thereby placed 164 separate copyright registrations for musical works related to Mr. Clinton and his groups, Parliament and Funkadelic, Brides of Funkenstein, as well as Philippé Wynne, Glen Goins, and Eddie Hazel into the name of Bridgeport Music.
8. I only later learned that Mr. Boladian fraudulently and materially altered this March 4, 1982 document and then recorded it with the U.S. Copyright Office to create a claim of ownership in these 164 separate copyright registrations in the name of Bridgeport Music.
9. On April 30, 1992, again under the direction of Mr. Boladian, I personally filed and registered a copyright registration in the name of Westbound Records with the U.S. Copyright Office as a work for hire known as the Funkadelic Sound Recordings SR 142111 titled: “Funkadelic: Let’s Take It To The Stage” asserting a June 15, 1975 date of first publication, unaware of the fact that no actual work for hire agreement existed for this sound recording.
10. On February 8, 2002, again under the direction of Mr. Boladian, I personally filed and registered:
(i) a copyright registration in the name of Westbound Records with the Copyright Office as a work for hire known as the Funkadelic Sound Recording SR 318917 titled: “Cosmic Slop” asserting a June 17, 1973 date of first publication; and
(ii) a copyright registration in the name of Westbound Records with the Copyright Office as a work for hire known as the Funkadelic Sound Recording SR 318918 titled: “Standing on the Verge of Getting It On” asserting a September 15, 1974 date of first publication, unaware of the fact that no actual work for hire agreement existed for either of these sound recordings.
11. In addition, under the direction of Bridgeport Music and its various legal counsel over the years, including at least Attorney Richard Busch, Attorney Edward Wallace, Attorney Barry Richard, and Attorney Joseph Della Maria, I participated in numerous legal proceedings involving Bridgeport Music as both a plaintiff or defendant in legal actions to:
(i) obtain money damages and a percentage of copyright ownership from third parties relating to the alleged unauthorized use of the Bridgeport Music copyrights
(ii) defend various claims that songwriters may have brought against Bridgeport Music seeking to get their Royalties paid, and/or return the copyrights to the original authors or their estates; and/or
(iii) to receive proper accounting and payment
12. JPMC’s participation in these legal proceedings would include research and pinpointing unauthorized sample uses, contacting third parties, including publishing companies, record companies, and artists to address the claims without litigation, and supporting the legal counsel of Bridgeport Music in the event of litigation, including declarations, depositions, and testimony for Bridgeport Music.
13. Specifically, in 1996–1997, there was a special master proceeding before the U.S. District Court for the Central District of California in Los Angeles, California for the purpose of providing an accounting to the songwriters of the Malbiz/Bridgeport catalog. The Special Master, Theodore Friedman, hired me to issue the statements and amounts relating to the copyrighted musical works in the Malbiz catalog for the various named songwriters for the Malbiz musical works.
14. As part of my involvement in the Special Master proceeding before the U.S. District Court for the Central District of California, Mr. Boladian and Bridgeport Music took the position that they did not owe funds to the applicable Malbiz songwriters because of certain unspecified financial costs or expenses that were allegedly incurred by Bridgeport Music. In the case of George Clinton, Mr. Boladian asserted that he was, in fact, owed money from Mr. Clinton based upon Mr. Boladian’s payments to maintain a certain parcel of real property owned by Mr. Clinton located in Brooklyn, Michigan. However, I am not personally aware that any such payments were actually made by Mr. Boladian for the benefit of Mr. Clinton or any of the other Malbiz songwriters. I do have specific knowledge that the Malbiz songwriters were not paid any royalties. This specific conduct was done to the detriment of all the Malbiz songwriters, including Mr. Clinton, in the Special Master proceeding in Los Angeles, California.
15. In January 2001, there was a trial involving Mr. Boladian, Bridgeport Music and Mr. Clinton before the U.S. District Court for the Northern District of Florida over the Malbiz catalog of musical works. Mr. Boladian and his attorneys at the time, Attorney Barry Richard, Attorney Joseph Della Marie, and Attorney Richard Busch intentionally concealed and withheld the fact that Mr. Boladian had materially altered the March 4, 1982 assignment agreement.
16. As part of these cases, including a 2001 action filed by Bridgeport Music in Nashville, Tennessee against hundreds of defendants, I was also deposed in numerous occasions in cases where Bridgeport Music sued various record companies and musical artists for copyright i
nfringement and alleged unauthorized music “sampling.” Many of these cases included claims by Bridgeport Music that it was the copyright owner of various musical works of many artists, including Mr. Clinton and others, which were alleged to have been sampled and interpolated by artists in new musical works without authorization. I have now learned that Bridgeport Music was not, in fact, the legal owner of these works, knew that it was not the legal owner, but pursued these claims anyway.
17. More recently, in 2002, as part of a Michigan state court action, Mr. Clinton’s auditor, Arthur Erl, was granted access to the Bridgeport Music files and records that were in my possession. However, I did not actually possess the true income and financial amounts that were generated by the Bridgeport Music works, including the musical works in the Malbiz catalog since Mr. Boladian never provided or accounted to me monies and revenues owed to any writers for the releases on Westbound records, including any mechanical license amounts or payments flowing from these works disseminated by Bridgeport Music as well as the sound recording works and copyrights filed by me and discussed above.
Brothas Be, Yo Like George, Ain't That Funkin' Kinda Hard on You?: A Memoir Page 34