We Were Funky Live! is a spectacular, funktastic, live stage musical revue and celebration of the funk, r&b, and disco music of the 70's, 80's, and 90's. The show offers a glimpse into the rear-view mirror, when it was all about real live music, with real live instruments and gifted musicians and artists, who created a musical movement that rocked the world. A musical stage adaptation of the soon to be released We Were Funky documentary, We Were Funky Live! features the choreography of Heather Hayes, daughter of the late legendary soul singer Isaac Hayes, and the music of some of the greatest artists that ever lived. Some of those artists include: Earth Wind and Fire, Donna Summer, K.C. and the Sunshine Band, Gladys Knight, Michael Jackson and more, all while various scenes play out on a giant eight-foot LED screen.
Among the songs to be performed are: In the Stone, Boogie Wonderland, Bad Girl, Want Ads, Mr. Big Stuff, I Love the Nightlife, Rock the Boat, One Nation Under A Groove, Let's Groove, Serpentine Fire, That's the Way I Like It, Bennie and The Jets, Celebration, Let's Get Serious, There'll Never Be, Sexual Healing, When Doves Cry, Upside Down, All Night Long, The Bird, Midnight Train to Georgia, Love Train, Staying Alive, Billie Jean, Jump, Lady Marmalade, Signed Sealed Delivered, Superstition.
The setting of the show takes place in Atlanta, in the fictitious Omni Theatre, named after the defunct Omni coliseum, a venue that hosted many 70's and 80's Funk/R&B concerts. A stagehand is desperately trying to give the audience a peek at his hidden talents, but the cast refuses to let his character in the show. The stagehand is played by Harry Nixon, the first mascot for the NBA Atlanta Hawks, who incidentally used his name to create the Harry The Hawk mascot.
Atlanta's own The Maxx Band, a group of veteran musicians with 30-plus-years in the funk, soul, disco, R&B, Rock and Pop music scene of the South. The group delivers a full gold and sequined, leather and lace, decadent live band experience, complete with a full horn section, skin-tight background vocals, and authentic choreography that defines this true American art form and global phenomenon called FUNK.
Tickets costs $20 to $75. To purchase tickets, visit: For information on all Seabrook Performance Series events, follow us on twitter: @jwseabrook or facebook.com/jwseabrook.
The three women of the 1970s rap group The Sequence have sued Bruno Mars and songwriter Mark Ronson, claiming the Grammy-winning hit song, "Uptown Funk," violates the copyright of the trio's 1979 single, "Funk You Up."
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In 2016, "Uptown Funk" was certified "diamond" by the Recording Industry Association of America (RIAA), signifying at least 10 million copies sold. It is only the 13th song recognized with diamond level status by the RIAA, and more recent estimates put record sales around 17 million.
According to TMZ, The Sequence's complaint against Mars and Ronson claims that "Uptown Funk" has "significant and substantially similar compositional elements" to "Funk You Up." Cheryl Cook, Gwendolyn Chisolm, and Angie Brown Stone are seeking monetary damages from Mars and Ronson.
In 2016, Minneapolis funk band Collage sued Mars and Ronson, claiming "Uptown Funk" was "indistinguishable" from their 1983 song, "Young Girls," and in 2015, Ronson added members of The Gap Band as songwriters of "Uptown Funk" after a lawsuit on their behalf involving "Oops! Upside Your Head" settled out of court.
"Music plagiarism" has become a buzz phrase in intellectual property circles in recent years, particularly as digital music sampling has become exceedingly common. The term is now interchangeable with "music copyright infringement," though such claims are nothing new to the recording industry. The Music Copyright Infringement Resource tracks the earliest case to "The Cot Beneath the Hill" trial in the Southern District of New York in 1844.
Under the law, many aspects of a musical composition can be copyrighted, including melody, lyrics, rhythm, and chord progression, so long as the creation reflects a "minimal spark" of creativity and originality.
To prevail on a music copyright infringement claim, a plaintiff must show that the defendant had access to the plaintiff's song and that the two songs have "substantial similarity." The latter is judged through the "ordinary observer test," which asks whether an ordinary observer would find the songs to have substantial similarity.
And what all that means in layman's terms is that there is no bright line rule to determine whether infringement has occurred. Instead, the judge or jury may consider various factors, including the creative process behind the allegedly infringing song as well as expert testimony, in reaching a decision.
Usually, if a music copyright infringement case makes it to trial (which is rather rare, as most claims are settled out of court), it is up to the jury to decide, which is what occurred in the "Blurred Lines" case.
During my formative years, Afrobeats became an integral part of my musical journey. As a first-generation refugee from the African continent, this genre of music held a profound significance for me, serving as a powerful thread that kept me connected to my cultural roots and the small but mighty African community in my hometown.
As I grew older, I witnessed with awe and excitement the rise of Afrobeats in the global music scene. Over the last couple of years, this genre has transcended boundaries and captivated audiences worldwide with its infectious beats and captivating grooves. Afrobeats has become a force to be reckoned with, dominating not only the airwaves but also the stages of music festivals around the world. It has been nothing short of inspiring to see how the genre has taken the world by storm, leaving its indelible mark on popular culture and the music industry. The surge of Afrobeats has been more than just a musical revolution; it has been a celebration of African culture, resilience, and creativity.
Afrobeats is a vibrant genre of popular music that has its roots in West Africa and has gained widespread popularity in the diaspora. This musical style originated primarily in Nigeria, Ghana, and the UK during the 2000s and 2010s, and is often interchangeably referred to as Afro-pop or Afro-fusion. Afrobeats songs are typically sung in a variety of languages, including English, Yoruba, Twi, Pidgin English, and other local African languages, reflecting the rich linguistic diversity of the region.
Afrobeats pushes the boundaries of traditional African rhythms by infusing them with contemporary influences like hip-hop, R&B, and pop. This unique blend of musical elements has created a genre that resonates with audiences all over the world.
Along with these cherished memories associated with Afrobeats, this genre of music also serves as a powerful expression of African and Afro-diaspora pride within myself and those around me. Through its lyrics that often celebrate African identity and culture, Afrobeats music becomes a vital component of African cultural expression. Many African listeners are deeply drawn to Afrobeats songs as they view them as a means to proudly showcase their rich heritage, traditions, and identity to the world. Afrobeats also critique systems of power and inequality on the continent and in the diaspora. Afrobeats music often addresses social, political, and economic issues faced by Africans both within Africa and in diaspora communities around the world. Afrobeats artists often use their music as a platform to raise awareness and critique the existing power dynamics and inequalities that impact African societies.
These cross-genre collaborations have been instrumental in introducing Afrobeats to a wider audience and expanding its reach. By collaborating with Western artists, Afrobeats musicians have been able to fuse their unique African rhythms, melodies, and cultural elements with other popular music genres, creating a fresh and dynamic sound that appeals to diverse audiences around the world
The popularity of Afrobeat music has also grown significantly as a result of social media. Without the aid of conventional record labels, platforms like YouTube, TikTok, and Instagram have allowed musicians to interact directly with fans, create dance challenges, and be featured in Afrobeats compilation videos. This has made it possible for emerging musicians to develop popularity without having a large label agreement.
It has been a source of pride for me as I witness the motherland being embraced and celebrated on a global scale. Afrobeats has not only brought joy to my ears but has also ignited a sense of pride and belonging in my heart, reminding me of the power of music to transcend borders, bridge cultures, and create a sense of unity among diverse communities.
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Music is no exception in the entertainment world. It offers commentary on many aspects of life, including the law. Further, music is one of the most personal creative mediums for many artists and listeners alike. In each note and phrase, we can find feelings, emotions, and even personal anecdotes that the artist seeks to share with the listener. In turn, music often generates a unique connection for the listener.
The legal world has inspired artists across various genres to create unforgettable songs about the law that tell great stories of lawyers, judges, trials, witnesses, and courts. Music, much like other entertainment, also often offers commentary on the state of the law and encourages discourse about these problems.
This is the debut song that launched the career of Patsy Cline, one of the most influential country music artists of all time. The song addresses a marriage first and then tackles the divorce process. 152ee80cbc
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