Poor Legacy

Poor Legacy – Kindness, by E-Rhythm ft. Poor Legacy

2026-09-14T13:04:15.730-04:00

by Redazione

6 Settembre 2026

E-Rhythm and Poor Legacy join forces on “Kindness”, a production rooted in the subtler spaces between melodic house, electronica and alternative dance. Rather than aiming for immediate, heavy-handed impact, the track builds its identity on measured restraint and continuous forward movement, allowing its melodic themes to establish themselves naturally across the arrangement.

The rhythmic foundation remains focused throughout. A clean four-to-the-floor kick maintains direction, while crisp percussion and syncopated rhythmic touches prevent the momentum from flattening out. The drum programming avoids unnecessary aggression, preferring a steady, rolling cadence that supports the broader composition and leaves generous headroom for melodic development.

The synth and textural work provides the track with its defining musical weight. Broad harmonic layers move against brighter, carefully phrased leads, creating a subtle dialogue across the frequency spectrum. The filtering and tonal shifts unfold deliberately; sounds swell and recede without relying on predictable drops, lending the electronic instrumentation an organic, fluid quality that sustains interest across multiple rotations.

Atmospherically, “Kindness” leans into a reflective mood. A muted emotional undertone runs beneath the groove, evoking the transitional energy of late nights and early mornings. The spatial treatment of the elements adds noticeable breadth, giving the impression of an expansive environment without losing the direct clarity of the core rhythm.

What distinguishes the collaboration is its sense of poise. Where contemporary melodic productions often depend on exaggerated build-ups, this piece places full trust in the strength of its core motifs and gradual structural evolution. Each transition feels earned, and the interplay between the rhythm and melody remains tightly balanced.

“Kindness” is a high-quality release that demonstrates balance, careful production choices and enduring groove. It is an engaging piece of work that Parkett is happy to host on its webzine.

E-Rhythm balances weight, light and groove across Poor Legacy’s cinematic hip-hop cut, Off the Grid

2026-09-14T12:32:01.839-04:00

Posted on 12 August 2026

Waiting Room by E-Rhythm ft. Poor Legacy

Ahead of the release of the Waiting Room LP, E-Rhythm locked listeners into funk-fuelled fire that cinematically smoulders through the advance single, Off the Grid. As drummer and producer within Waterbury, Connecticut’s Poor Legacy, alongside frontman Nailz and keyboardist D-Note, E-Rhythm brought a live-band sensibility to instrumental hip-hop, letting groove, texture and atmosphere speak without requiring a single bar to spell it out.

Haunting timbres of classical strings, which have become a staple for old-school hip-hop samples, finally get space to breathe their true opulence within the spacey, synthy production. Weight, light and tempo are balanced with serious imagination, resulting in an equilibrium that sets the standard for luxe, laid-back boom-bap-based instrumental experimentalism.

The drums carry authority without overcrowding the arrangement as the low-end moves with smoky purpose and the melodic details give the track a cinematic glow that feels culturally expensive. It is head-nod music for listeners who want hip-hop production to feel tactile and roomy while opening a door to rhythmic escapism.

Waiting Room promises a 20-track instrumental project spanning boom bap, neo-soul, trap, Afrobeat, dub, reggae fusion, jazz hip-hop and global influences through live instrumentation. If Off the Grid is the doorway, E-Rhythm has made one hell of an entrance.

Off the Grid is now available on Bandcamp.

Review by Amelia Vandergast

The Critics Agree

2026-08-25T12:59:58.747-04:00

American Trio Poor Legacy Deliver Groove on “Off the Grid” - Uranium Waves

2026-08-25T11:08:20.611-04:00

Written by Mo at Uranium Waves

Poor Legacy shapes “Off the Grid” as a focused instrumental study in rhythm, restraint, and low-end character. The American trio pulls from lofi neo-soul and hip-hop instrumental traditions without letting either category flatten the track’s identity. Its center is groove. Catchy Rhodes piano keys give the piece warmth and melodic clarity, while ethereal synths stretch the atmosphere just enough to create depth. The mood is chill, but the drums prevent the arrangement from drifting. Their punch is laidback rather than aggressive, creating a slight bounce that keeps the composition in motion. “Off the Grid” feels connected to Poor Legacy’s organic band language, but its structure is compact, intentional, and built for repeat listening.

Music & Audio

The bass is the track’s defining element. It moves with smooth authority, giving the instrumental its main flair and grounding the more atmospheric details around it. Sweet saxophone stabs add color without becoming decorative excess, while ethereal cello textures bring a cinematic edge to the record’s soul-based frame. The result is not simply background music; it is a groove system with clear internal architecture. Boom bap appears in the drum logic, neo-soul in the chords, hip-hop jazz in the horn phrasing, and funk in the bass movement. That fusion works because every part is disciplined. Nothing feels pasted on. “Off the Grid,” taken from the broader Waiting Room album project, invites reflection without losing physicality. It fits listeners who want instrumental hip-hop with polish, warmth, and a live-band pulse beneath the beat.

E-RHYTHM OF POOR LEGACY PRESENTS: WAITING ROOM E-

2026-07-20T11:39:42.277-04:00

E-Rhythm of Poor Legacy Presents: Waiting Room is a genre-blending instrumental album that brings together the raw, organic sound of Poor Legacy, a band formed in Waterbury, CT in 2001. Spearheaded by drummer E-Rhythm and ft. Nailz & D-Note of Poor Legacy, the project fuses Boom Bap, neo-soul, Trap, Afrobeat, hip-hop jazz, Dub-reggae, funk, rock-infused hip-hop and cinematic textures into a powerful, groove-driven experience. With rich horns, melodic chords, deep bass, and signature drum work, Waiting Room invites listeners into a space of reflection, rhythm, and soul.

Pre-order now! Get 1 track immediately via Bandcamp plus the complete 20-track album upon release. Available on Spotify, Apple Music, YouTube Music, Amazon Music and 150+ platforms on 08/28/2026.

https://poorlegacy.bandcamp.com/album/waiting-room

4‑track single Duet (Song of Songs)—out now and appearing on our forthcoming album (2026).

2026-04-10T12:27:00.001-04:00

The song "Duet" is a love poetry story that explores the passion & love between the groom and bride to be. Duet is derive from the book of Song of Songs or Songs of Solomon which are the same book in the Bible. The book of Song of Songs theme includes; celebrating the joy of physical touch, exhilaration of exotic scent, the sweet sound of a lover's voice, the taste of another's lips and the human desire for intimacy. With a mixture of melodic chords, horns, strings, heavy bass & drums; your ears will be packed with the sounds of an elaborate musical composition-symphony. Poor Legacy is comprised of frontman Nailz, D-Note (Keyboardist), and E-Rhythm (Drummer). The band originated in Waterbury, CT back in September of 2001.

Duet (Song of Songs) by Poor Legacy

Lecrae First Christian Rapper On NPR's Tiny Desk Concert

2026-04-10T09:30:00.001-04:00

By Bobby Carter:

Tiny Desk has featured some of the best music across various genres throughout our 18-year history; however, Lecrae is the first Christian rapper to perform at NPR headquarters. I felt guilty when I mentioned this to the Houston-born emcee, only because it's taken so long. If we're putting a spotlight on faith-based hip-hop, we had to start with Lecrae.

Hip-hop originated in the streets; its growth has been slow and steady, with faith often appearing as a caveat in the music. It felt acceptable to mention God without getting too preachy, but if you went past that line, an obsession over authenticity stigmatized Christian rappers. And then Lecrae cracked the code: His devotion is unapologetic and consistent through the lyrics, but everything else, from the production to delivery, feels real and earned.

For his set, Lecrae aptly kicked things off with "Coming in Hot," and breezed through seven more tracks from his catalog, including 2024's "Die for the Party," a song inspired by Kendrick Lamar's "Watch the Party Die," in which Lamar reflects, "Sometimes I wonder what Lecrae would do."

Kendrick Lamar Drops Song Applauding Lecrae & Dee-1 for Their Character

2024-09-12T11:42:00.001-04:00

ByJustin Sarachik:

Kendrick Lamar dropped a surprise song on his Instagram and the CHH community got some love. The new era’s GOAT emcee name-checked both Lecrae and Dee-1 as people of character within the culture.

Lamar aimed hip-hop and its vileness before asking, “Sometimes I wonder what Lecrae would do?” and then says “I Wanna be empathetic, my heart like Dee-1.”

Luc DiMarzio had some poignant words about the situation.

“IMO this is the dopest shout-out a Christian rapper can get in a song like this because of the context- Kendrick is shouting them out as Godly men, as Godly examples of men who pray and who don’t lack empathy.

That’s pointing to their witness and their fruit. Rather than just bars and artistry.

The former is the goal – That we would shine our light before men that they would see Christ’s work in us and therefore turn their hearts towards him. (Matthew 5)”

Lecrae and Dee-1 responded:

@lecrae : Love you Dot...Always here.

@Dee1music : i appreciate the shoutout brother @kendricklamar More than you'll ever know. A shift is happening. The time is now!

@rapzilla Texted Dee-1 about this and he said:

“So truly humbling. A shift is happening. I been telling everybody. Grateful to be on this mission with you and everybody else.”

Billboard Charting Singer Jeannie Ortega Partners with Rapzilla for Distribution

2024-04-15T15:07:00.002-04:00

By Justin Sarachik

Rapzilla is excited to announce their next artist, Jeannie Ortega! She will be releasing her album Letting Go with Rapzilla through Syntax Creative. The first single, “I Promise,” featuring Datin, drops on April 26th.

“In a time when so many people are giving up on family, I wrote ‘I Promise’ to remake a vow that I will do the hard work that’s necessary to keep healthy relationships with my spouse and with my children,” Ortega said of the song. “It’s reaffirming my promise to family and to commitment, to work on myself to be better for my loved ones.”

Datin shared that Jeannie sent him this track before he even knew he was going to be a father to a son. It became prophetic for him.

“In the song, I talked about my perspective of me becoming a father,” said Datin. “Right after I sent the song back, I found out my wife is pregnant, and it’s a boy!”

Jeannie’s upcoming album is encompassed of everything she is. It’s hip-hop, pop, Latin, and worship. She goes back to her Brooklyn Puerto Rican roots for this album.

“The album is where I just let it all go,” she said. “It’s raw, honest, and real. I’m sharing the truth. The truth that got me through. The truth of my life and how I overcame something and all the difficulties that came.”

For several years, Jeannie went the pop/CCM route with her music, but she’s always been grounded in hip-hop.

You may recognize her name and voice from 2014’s “Praise & Arrows” with Trip Lee, Canon, and Deraj.

Perhaps, you know her from her Gold certified Top 25 Billboard single “Crowded” featuring Papoose in 2006 when she was signed to Hollywood Records, a label imprint of Disney. The success of that song on her album No Place Like BKLYN, which charted at No. 1 on the Billboard Heatseekers chart, gained her an opening spot on Rihanna’s first major tour.

Regardless, Jeannie is a multi-threat talent, and has acted in movies and TV, hosted shows on TBN, wrote a book called “What is Happening to Me?” and also spent a decade as an entertainment reporter.

“We’re really excited to make this partnership with Jeannie happen,” said Rapzilla Editor-in-Chief Justin Sarachik. “We used to work together and have remained friends throughout this time. In the past, we collaborated hand-in-hand on building a brand. Now we get to collaborate again in building her brand! I can’t wait to see what we can do together again.”

ABOUT JEANNIE ORTEGA

Jeannie Ortega Law is a singer, speaker, author, and actress from Brooklyn, NY. She signed her first major record deal with Hollywood Records as a teenager. Jeannie spent several years on the pop radio circuit. Her first single, “Crowded” yielded a Top 25 slot on the Billboard Hot 100 charts and was certified Gold on radio airplay. Her debut album No Place Like BKLYN (2006) debuted at No. 1 on Billboard’s Heatseekers chart and was on the Top 200 chart.

In 2007 she had a life-changing divine encounter and decided to change direction and use her gifts for God. The multiple-threat performer is now a traveling speaker and evangelist and has a worldwide ministry with her husband, Rev. Renn Law (Most High King Ministries). Ortega Law has been featured multiple times on the international network TBN and had her own TV show “In The Mix” run on TBN Salsa and 24 Flix. She is a media personality, and Christian Journalist and continues to make music from an inspirational perspective. Her debut book “What Is Happening to Me?” details her wild journey to faith and is now available everywhere books are sold. Check out her debut podcast “Truth Be Told” – A safe place where people can listen to truth and grow!

Cassette Tapes: The Birth, Rise, Fall and Comeback??

2024-02-21T13:59:00.005-05:00

First it was vinyl, and now it’s cassettes that all the cool kids want, as nostalgia takes over the music world.

It seems both those brought up with endless streaming options and those of a certain vintage who remember them with affection are returning to the humble cassette, helped by the once ubiquitous Sony Walkman appearing in hit movies and tv series.

Sales in both the U.S. and U.K. have hit new highs, with apocalypse series The Last of Us the most recent to bring retro chic to the cassette.

The total number of sales have risen from 3,823 in 2012 to more than 195,000 in 2022 and still growing in 2024.

The Guardians of the Galaxy soundtracks have been big wins in every sense, but they’ve sold exceptionally well when looking at one specific format–one which many assumed was dead until not too long ago.

According to Billboard, using data shared by Luminate, Guardians of the Galaxy was a massive seller on cassettes in the U.S. in 2023. In fact, it wasn’t just one soundtrack from the franchise that did well, but all of them–even those that have been out for many years now.

The first Guardians of the Galaxy soundtrack, titled Guardians of the Galaxy: Awesome Mix Vol. 1, ranks as the bestselling album on cassette in the U.S. in 2023. According to Billboard, the set sold another 18,000 copies in the past tracking year.

One more album released from the series, titled Guardians of the Galaxy: Cosmic Mix, Vol. 1, lands at No. 8 on this year-end list. The effort sold 6,000 copies–just one-third of what the project that started it all managed during the same timeframe.

Aside from the Guardians of the Galaxy soundtracks, the only other name who managed a pair of bestselling cassettes in America last year was Taylor Swift. Her 1989 (Taylor’s Version) lands in the runner-up rung, and not by much. That recent release sold 17,500 copies on the format, and performed much, much better when looking at CDs and vinyl. The pop and country star also appears at No. 5 with Speak Now (Taylor’s Version) with 11,500 copies sold.

Amazingly, the Guardians of the Galaxy soundtracks don’t feature a bevy of new hits from superstars, as is the case with the Barbie album (which lands at No. 9 with 5,500 copies sold). Instead, they’re compilations flush with decades-old singles that the masses can’t get enough of. While most of those tunes have been widely available for many years, the combination of putting them all together into one playlist and the love for the franchise seemed to be enough to spur sales.

Marvel’s ‘ECHO’ Features Track by Scootie Wop, Jude Barclay, BigBreeze, & I PROJECT

2024-01-19T07:00:00.001-05:00

By Brandon Roots

Marvel’s upcoming show “Echo” is a spin-off of Hawkeye, and it came out January 9th on Hulu and Disney+. This will be Marvel’s first release of 2024. Echo, or Maya Lopez is a Native American deaf superhero, and her story will unfold over five episodes.

The second episode will feature a song by 2020 Rapzilla Freshmen, producer, singer, and rapper Scootie Wop, 2021 Rapzilla Freshman Big Breeze, and 2023 album of the year nominee Jude Barclay and produced by Rapzilla Freshmen 2023, I PROJECT titled, “Wavy.”

New DistroKid President is a Former Christian Rapper!

2024-01-18T14:30:00.001-05:00

By Darius Mullin

DistroKid, the popular music distribution service, is undergoing a major leadership change. And the new leadership is an old friend of CHH.

The company was founded in 2013 by Philip J. Kaplan. Since then, it’s grown to be a staple of the independent music ecosystem. DistroKid claims to be “the easiest way” for music artists to get their work on digital streaming platforms, and has amassed more than two million users.

It was announced on January 11th that Philip Kaplan would be stepping away from DistroKid’s CEO role, becoming Chairman instead. Filling in at the highest level of leadership is Phil Bauer, who has been promoted to President of the company after serving as its COO since 2018.

Bauer is, of course, no stranger to the music industry. What may be surprising, though, is his involvement in the Christian rap scene.

Years ago, Phil Bauer was a rapper by the name of Ethic and was heavily involved in the underground hip-hop scene of the Pacific Northwest. He was part of a hip-hop act known as The Unimportant Ones—a trio that landed a spot on the first installment of Syntax Records’ acclaimed Night Owls compilation series. The other members of that trio? Braille (later of Lightheaded and Beautiful Eulogy) and Illtripp (later of Deepspace5 and Labklik). Ethic would go on to be part of the Portland-based underground hip-hop collective Sandpeople, as well as the lyrics half of the hip-hop duo Debased, before working for DistroKid.

And Bauer isn’t the first high-level music exec to have roots in Christian Hip-Hop! Ace Harris, A&R at Reach Records, is also a Board Member of the Music Business Association and a producer who has worked with the likes of Lil Wayne and Meek Mill.

Ritz McCain worked at Reach Records for years before moving on to Sony and Spotify (plus she’s married to Canon). Tim Trudeau was a producer for the late 90s/early 00s CHH group Sackcloth Fashion and co-founder of the aforementioned Syntax Records label (which housed many early-2000s Christian Rap acts) before settling in as CEO of Syntax Creative and becoming a Committee Member for the Gospel Music Association and another Board Member of the Music Business Association.

Bad Things Happen In Philadelphia Film Soundtrack Filled with CHH

2023-12-01T00:00:00.053-05:00

By Justin Sarachik

In the face of gun violence challenges, Philadelphia stands tall as a city of resilience and hope. Directed and produced by Kyra Knox, the award-winning film, “Bad Things Happen In Philadelphia,” sheds light on the stories of those affected by gun violence, particularly young people, and the grassroots efforts fighting back. It features NBA legend Allen Iverson, along with his childhood friends Cleon Lockett and Paul Taylor.

The film, which has earned accolades at various film festivals, is set to make its national broadcast premiere on Fox Soul and Prime Video on December 2, 2023. Accompanying the film is a soundtrack album set to release on December 1, 2023, featuring artists such as Da’T.R.U.T.H., Jill Scott, Beam, Canon, Fern, and YungDave67. The soundtrack’s first two singles, “Legacy” and “Make It Out,” are already available across platforms.

Executive produced by Stellar Award-Winning Producer Gabe Johnson, Cleon Lockett, Jerry Cox, Mark Mims, and Naquis Brabham of Home Studios, the soundtrack album captures the essence of the film’s narrative. Home Studios, responsible for mixing and mastering the album, ensures a musical experience that resonates with the film’s powerful message.

Tracklist:

Beam – In This House

Canon – Make It Out

Da’ T.R.U.T.H., Jill Scott, Greg Cox, Adam Blackstone – Legacy Re-Mix

Greg Cox – 911

Joe Ayinde – Be Alright

Beam, Tyshane Knight – Alive

J. Crum – Déjà vu

Royce Lovett – Live Your Song

Da’ T.R.U.T.H., Isaac Carree – Press On

Yung Dave67 – Angels

Yung Dave67 – Still Trying

Fern – Come On

Director Kyra Knox drew inspiration from witnessing the impact of violence on friends, family, and neighbors. Her cousin Garry Mills, who runs the non-profit Shoot Basketballs Not People, played a crucial role in shaping the film’s mission to highlight the teen perspective on gun violence.

“Whenever we hear people talk about gun violence, you never hear it from a teen’s perspective,” notes Knox. “It was important for me to get their thoughts.”

Grammy-nominated producer Mark Mims, connected to Knox through a friend, played a pivotal role in securing funding for the project. The partnership between Knox and Mims blossomed, leading to the involvement of NBA legend Allen Iverson as an executive producer, driven by a shared commitment to making a real change in their communities.

“When I saw the opportunity to make a difference, being part of this project with friends and a city I love, I wanted in,” says Allen Iverson, reflecting the film’s dedication to creating positive change in Philadelphia.

During this three-year journey, the film has not only completed its production but has also won on the festival circuit. Kicking off with its world premiere at The American Black Film Festival, it continued to make waves, bagging prestigious awards along the way. The Philadelphia Film Festival honored it with the “Audience Choice Award” and “Best Local Feature Award,” while the Micheaux Film Festival recognized it as the “Outstanding Feature Documentary.” The Hip Hop Film Festival added to the accolades with the “Best Feature Documentary Award” and the esteemed “Tubman Award: Activism Through Art.”

A significant turning point for the film came when it inked its first license deal with Fox Soul, marking a major milestone. The much-anticipated national broadcast is set to reach audiences starting December 2, 2023.

Watch Bad Things Happen In Philadelphia Trailer Below:

Latest Album "Change" by Poor Legacy

2023-11-09T13:58:00.002-05:00

Please check out our new album "Change" on all digital platforms. Thanks in advance for listening!!

The album “Change” contains a message and sound that listeners need to hear. Popular music at times possesses no real message, content and is used widely as filler music. On a positive note, Poor Legacy’s creative ways of using instruments, wordplay and song arrangements takes you on a journey that will impact your life. Sometimes we need lyrics that speaks of grace, redemption, faith and love that can touch and mend hearts. Poor Legacy is comprised of frontman Nailz, D-Note (Keyboardist), and E-Rhythm (Drummer). The band originated in Waterbury, CT back in September of 2001.

credits

Released March 24, 2023

Produced, Mix & Mastered by Poor Legacy's drummer Eric Kee aka E-Rhythm, Executive Producer Berll M Pemberton pka Nailz

https://youtube.com/playlist?list=OLAK5uy_kfyYlEI_HoSrPsQSmn70uN5uHw5EXqEjs https://open.spotify.com/album/4u9h4uL6AboMLvF92CcKpO?si=O3LEo4ILQy-Pbn9_pjfQAw https://music.apple.com/us/album/change/1669661497

https://poorlegacy.bandcamp.com/album/change

J Dilla Instrumental Blend/Mix Tribute

2023-11-07T14:51:00.004-05:00

By Nailz of Poor Legacy

J Dilla is one of, if not, the greatest Hip Hop producer/s of all time. He was a massively influential artist who sadly passed away aged 32 in 2006 after a long battle with Lupus. Jay Dee's ability to create intricate and timeless beats and melodies in such a simplistic yet complex way separated him from the rest. Nailz the front-man, vocalist & also one of the producers of Poor Legacy has bless us with an instrumental blend/mix of some of J Dilla's work; hope you enjoy it.

J Dilla Instrumental Blend/Mix by Nailz of Poor Legacy

Dee-1 & Rick Ross: Hip-Hop’s David vs. Goliath

2023-11-07T14:44:00.005-05:00

By Robert Holloway

Recently, Dee-1 returned to the world-famous Sirius satellite radio show, “Sway In The Morning” and ruffled mega-rap star feathers. He blatantly addresses an underlying issue in the hip-hop community. He mentions Rick Ross, Meek Mill, and Jim Jones and says they all can do better with their music content.

Though Dee-1 chose these few names and spoke in love, there are tons more artists profiting off “poison” in their music. For far too long the hip-hop industry has heavily promoted music that’s filled with violence, glorifies murder, and promotes drug usage and selling, all while claiming entertainment. Dee-1 also mentions how he had a “come to Jesus moment” while mourning the death of his best friend.

“You’re listening to music that’s glorifying the same stuff that just happened to my best friend.”

Rick Ross responded by claiming Dee-1 was clout chasing by mentioning these rappers’ names to go viral. He also claimed that Dee-1 can’t speak on this issue, because he isn’t active in his community. Like most people following the online dialogue between both parties, it’s fair to say that Ross never addressed the obvious issue at hand. The songs they write and rap are damaging to the ears that listen to them. Songs that promote death come with a price in the natural and spiritual realm. Clearly, Rick Ross wasn’t familiar with Dee-1. He didn’t do his homework on how active Dee has been as an educator. The rapper has even been serving impoverished communities for years.

Over the years I have watched footage of Hip-Hip Summit addressing certain rap beefs and exposing hidden agendas throughout the hip-hop industry. Artist-activists like Chuck D and Krs-One are known for leading these types of conversations quite often. Today, Dee-1 gets a major salute for speaking out on a megaphone of a platform while holding the attention of many around the world. Though he seeks no glory for his stone-throwing, as a community we send gratitude your way!

Lastly, can we say this was very strategic on Dee-1’s behalf? Did he use righteous judgment or the right approach as a believer? Should he have just hit these rappers’ staff or DM them personally? In summary, I hope this sparks a healthy conversation in the entire hip-hop community with the aim of defeating this Goliath of an issue in hip-hop.

What do you think of this discussion by Dee-1?

Holy Culture Radio: Trig, DJ Wade-O, & Beridox Appear on Sway in the Morning

2023-10-19T00:00:00.028-04:00

ByJustin Sarachik:

Our brothers over at Holy Culture got to appear on Sway in the Morning for an interview to talk about the great work they are doing at Holy Culture Radio.

Sway isn’t a stranger to CHH and has had Lecrae, Andy Mineo, Dee-1, Social Club Misfits, and others on.

In the episode, they spoke about secular and sacred mixing. They spoke about the impact of CHH and even dove into the discussion of Righteous and ratchet sparked by Lecrae and Dee-1.

Watch the episode with Holy Culture Below:

To learn more about what Holy Culture is doing, we did an interview with them earlier in the year. Check that out here.

Holy Culture Radio is the home for everything Christian Hip-Hop and Rhythm & Praise. Its programming will focus on themes of Faith, Art, Vocation, and Education, unifying three foundational things listeners seek: connection to popular culture, connection to their faith, and success in their careers.

The range of shows on the channel include The Christ Revolution Music, hosted by Bryant Tabb, which focuses on Christian Hip-Hop and features interviews with artists, producers, and DJs. Old School Sounds, hosted by DJ D-Lite, takes listeners back to the genre’s beginnings.

It also includes Straight Ministry Heat Mix, where host DJ I Rock Jesus introduces people to The Gospel of Jesus Christ, and The Underground Gospel Hip-Hop Show, where Jay Williams helps to launch indie faith-based artists, personifying the notion of having a great time while inspiring listeners with meaningful messages. Also featured is The DJ Wade-O Radio Show which marks the return of DJ Wade-O to the radio world. DJ Wade-O is best known for his spinning skills and insightful interviews with artists, pastors, and leaders within the Christian Hip-Hop community.

You Must Learn!!

2023-10-05T09:10:00.003-04:00

SiriusXM Files Legal Response to SoundExchange’s $150M Royalties Lawsuit: ‘Misguided Allegations’

2023-10-05T00:00:00.001-04:00

US satellite broadcaster Sirius XM has responded to a lawsuit filed against it by SoundExchange over allegedly underpaid royalties, accusing the collecting society of making “misguided allegations”

by Andy Malt

US satellite broadcaster Sirius XM has responded to a lawsuit filed against it by American collecting society SoundExchange.

According to Billboard, Sirius says that SoundExchange's claim that the broadcaster has underpaid royalties to the tune of $150 million is based on a “flawed and biased examination” of its operations.

Satellite and online broadcasters in the US can rely on a compulsory licence when it comes to recorded music, meaning they can make use of any recordings at royalty rates set by the good old Copyright Royalty Board. SoundExchange administrates the compulsory licence, collecting the money that is due on behalf of artists and labels.

There are different licences for satellite and online broadcasts, the former based on a revenue share system and the latter on a per-play payment system. Sirius offers both satellite and online services, and has a subscription package that includes both.

That's where the dispute with SoundExchange comes from. With that package, Sirius needs to allocate a portion of each subscription payment to the satellite service and a portion to the online service, with its revenue share commitment only applying to the former.

The collecting society disagrees with the way the broadcaster is making that allocation, arguing that Sirius is employing a system that "ignores its actual business practice" and "relies on patently unreasonable surveys". SoundExchange's lawsuit concluded that the current allocation system is "Sirius's cynical attempt to avoid paying the royalties it plainly owes”.

In its response, Sirius argues that a “proper audit” would conclude that it “properly calculated its royalty payments to SoundExchange".

It also accuses the collecting society of “misguided allegations”, adding that the rights body seeks to “justify its existence, lofty executive salaries and luxurious operating style through repeated litigation against its biggest contributor".

As well as disputing SoundExchange's claims, Sirius also wants the legal battle to be moved to a court in New York or Washington DC, arguing that the lawsuit has been filed in Virginia because cases there are more likely to be fast-tracked, resulting in less time for discovery.

Breaking Down the 'Jaw-Dropping' Lawsuit That Has All of Reggaeton in Its Sights. A copyright case claims that virtually every big song in the genre was illegally copied from a 1989 track.

2023-09-28T00:00:00.025-04:00

Two dembow progenitors are suing superstars including Luis Fonsi and Daddy Yankee – in a case that also names Justin Bieber – claiming that they deserve credit for birthing the genre.

With the release of their song Fish Market in 1989, the Jamaican duo Cleveland “Clevie” Browne and Wycliffe “Steely” Johnson inadvertently changed the course of pop music. The track featured the first known example of what would come to be known as a “dembow” rhythm – the percussive, slightly syncopated four-to-the-floor beat that travelled from reggae to become the signature beat of reggaeton, today the world-conquering sound of Latin American pop.

Now, more than 30 years after Fish Market was released, Steely & Clevie Productions is suing three of reggaeton’s most celebrated hitmakers – El Chombo, Luis Fonsi and Daddy Yankee – for what they characterise as unlawful interpolation of Fish Market’s rhythm (or “riddim”), and are seeking the credit – and royalties – they say they deserved from the start. Steely & Clevie Productions’ lawsuit cites 56 songs, including some of reggaeton’s biggest hits, such as Fonsi and Yankee’s Justin Bieber collaboration Despacito and Yankee’s Gasolina, many of which have amassed hundreds of millions, or even billions, of streams. A swathe of featured artists and co-writers are also named as defendants in the lawsuit, including Bieber, Stefflon Don and rising Puerto Rican singer Rauw Alejandro, as well as publishing companies and record labels. (Representatives for Bieber and Stefflon Don declined to comment; the Guardian has contacted representatives for Alejandro.)

A win for Steely & Clevie could have massive implications not just for reggaeton, but for pop music in general, which has increasingly looked to Latin American music for inspiration over the past decade. Thousands of other songs that use a dembow rhythm could be considered in breach of copyright, and this action could also set a precedent for future copyright claims based on foundational pop rhythms.

In Jamaica and Latin America, reuse and sampling of instrumental tracks without fear of being taken to court is common practice. “The underground scene in San Juan [in Puerto Rico] that gave rise to reggaeton was inspired by Jamaica’s sound system tradition of using popular instrumentals to propel new, live, local performances,” says Wayne Marshall, an ethnomusicologist specialising in social dance music at the Berklee College of Music in Boston.

When reggaeton was first developing, it had little economic value, and few of its progenitors had any idea that it would one day become one of global pop’s most significant forces. Now, reggaeton is a multibillion-dollar industry: Bad Bunny, currently the genre’s biggest star (who has also branched off into other styles), has been the most streamed artist globally on Spotify for three years running.

“Once reggaeton becomes one of the most popular genres in the world, producing some of the most lucrative music of the 21st century, it calls into question whether the same creative licence should apply to commodities worth millions of dollars,” says Marshall.

Indeed, Browne and Anika Johnson (the latter representing the estate of Wycliffe Johnson, who died in 2009), claim that Fonsi, Chombo and Yankee “never sought or obtained a licence, authorisation or consent” to use the rhythm that originated in Fish Market, and that they “continue to exploit, and generate revenue and profits from, the infringing works”. Browne and Johnson have requested a jury trial for their legal action.

The claim suggests that the success of Shabba Ranks’s 1990 hit Dem Bow – which included lawful use of the Fish Market rhythm, crediting Steely & Clevie as co-writers – inspired other artists to copy the rhythm. Browne and Johnson claim that the artists named in the lawsuit would have had access to Fish Market because of its wide availability, and that they also would have had access to Bobo General and Sleepy Wonder’s Pounder, another song from 1990 whose rhythm Browne and Johnson say is “substantially similar, if not virtually identical” to that of Fish Market.

While rhythms are not generally protected under copyright law in the US, a rhythm may be copyrighted if it can be proved that it is substantially unique or original. Lawyers for Fonsi, responding to Browne and Johnson’s action, denied “that all or any portion of … Fish Market is original or protectible”, and claimed that “no response is required”. Representatives of El Chombo directed us to a video on his YouTube channel in which he talks extensively about reggaeton’s history and songwriting. Representatives for Daddy Yankee did not respond to the Guardian’s request for comment.

To Katelina Eccleston, a reggaeton historian and creator of platform Reggaeton Con La Gata, the tradition of reuse in riddim culture shouldn’t exclude artists from getting songwriting credits. “This has been a long time coming,” she says. “It doesn’t take a scientist to see how [Fish Market] has been used and sampled and swapped around in reggaeton.”

Eccleston sees the case as rooted in a long-held racial hierarchy that extends across the Americas, wherein those with lighter skin complexion – the majority of reggaeton’s biggest stars – are often given greater privileges. In Eccleston’s view, this extends to Jamaica, where a large part of the population has a darker complexion than those in neighbouring Latin American countries. Jamaican genres such as dancehall and reggae, Eccleston says, are popular worldwide, but lack economic parity with reggaeton.

“The people who are making millions off this music are living at a different level than the people who wrote the music originally,” she says. “Everybody wants Jamaican music and culture, but they don’t want to make sure Jamaicans can eat.”

New York copyright lawyer Paul Fakler, who is not involved with the case, says that Browne and Johnson have been strategic with their request for a jury trial. “One of the key things in copyright law is that ideas are not protected, but unique expressions of ideas are,” he says. “So a lot of times when you have these copyright cases go to juries, you can get wacky results.”

Fakler notes that when a judge and jury are faced with the intricacies of musical theory, the verdict often becomes less about the music and more about the story behind it. He cites the 2015 Blurred Lines case, in which a jury found Robin Thicke and Pharrell Williams guilty of infringing on the copyright of a 1977 Marvin Gaye song, as a watershed moment in pop copyright claims.

“The result wasn’t necessarily about anything that was relevant, but about the salacious elements of the story,” says Fakler. “That can have a way of pitting a jury against you when they have to then sit in the box and decide who’s right and who’s wrong and who’s credible and who’s not credible.”

Gregor Pryor, a lawyer specialising in entertainment and media, says that Browne and Johnson may be facing an uphill battle – in part because the defendants will probably “have a plethora of defences against copyright infringement at their disposal, which will make the plaintiffs’ argument more difficult to prove … The plaintiffs will have to prove that the defendant ever actually heard, or could reasonably be presumed to have heard, the plaintiffs’ song before creating the allegedly infringing song,” he says.

Pryor says it is hard to prove that someone has had prior knowledge of a song, meaning that the courts will have to consider a song’s popularity. “The use of language such as ‘foundational’ and ‘iconic’ being used [in the lawsuit] to describe the instrumentals are early attempts to signpost its popularity and show that access would have been likely,” he says. “Whether this point is successful or not will depend on the plaintiffs’ ability to demonstrate that the work was as popular as they have suggested, which may prove challenging.”

Major labels, attempting to pre-emptively avoid copyright lawsuits, have begun crediting artists who weren’t involved with the creation of a song when a newer track bears a resemblance to an older song. Recently, Olivia Rodrigo retroactively gave songwriting credits to members of Paramore and Taylor Swift for two songs on her debut album; in 2016, Beyoncé famously credited Animal Collective on one of her songs owing to a slight lyrical resemblance to their 2009 song My Girls.

Such a strategy is unlikely to have occurred to Fonsi, Chombo and Yankee when they first started minting hits. It may soon be up to a judge and jury as to whether they are liable to pay what many see as a long-overdue debt. “This has been the biggest elephant in the room since the creation of the music,” says Eccleston. “Once money got to the table, that’s when things changed.”

Betsy Reed

Editor, Guardian US

Pray About It As Much As You Think About It

2023-09-27T00:00:00.009-04:00

Lecrae Answers Why He’s Still a Christian

2023-09-22T23:57:00.005-04:00

ByDarius Mullin:

The Holy Post Podcast recently launched a new miniseries, Why I’m Still a Christian. “The last five or six years have been rough for many thoughtful, faithful Christians,” says Phil Vischer, author, speaker, and creator of VeggieTales, in the series intro. “Many have walked away in disgust. Some have spoken out and paid the price, and yet rather than walking away have remained committed to Christ and His Church. … We wanted to ask a simple question: ‘Why are you still a Christian?’”

The first episode of the series features none other than Christian Hip-Hop legend Lecrae! In the episode, which was released this week, Vischer talks with the Reach Records artist about his personal story, deconstruction, ministry mindset, and more.

Lecrae shared in the interview that part of his healing journey, as he went through his deconstruction process, was going to a Christian therapist who genuinely tried to understand him. “It was amazing. This was a very intelligent woman who was open to hearing my perspectives and did not cast judgment and walked with me step by step.”

Another step along the way was returning to the ancient Near East roots of his faith. “It’s almost like a recipe, you know–your mother’s Italian, and she gives you this recipe that was handed down from her great-great-great-grandmother in Italy, and over the years people keep adding things,” Lecrae said this also helps him to understand other Christians’ faith experiences. “I have a bigger birds-eye view; I’m more gracious.”

Towards the end of the conversation, Lecrae shared what keeps him grounded and connected to God, saying that he looks to the Old Testament examples of Moses and Abraham–who didn’t really have theological traditions at all, or even the Bible–for encouragement. He also shared that he incorporates an hour-long prayer walk into his daily routine, during which he listens to Scripture and/or Scripture commentary for 20 minutes, prays for 20 minutes, and listens to someone else’s perspective on a subject for 20 minutes.

Finally, Lecrae reflected on his journey so far: “I think it’s made me better. I think it’s made me healthier. And though I’m scarred for as long as I walk this earth, I think those scars have made me whole, internally and spiritually.”

Lend an ear and hear our latest album "Grow"!!

2022-06-29T08:46:00.003-04:00

New Album "GROW" OUT NOW!!

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Who Can Be Against Us!

2022-06-20T11:23:00.003-04:00

For the Record: How Vinyl Got its Groove Back

2022-05-27T11:41:00.000-04:00

Physical records are now a big business, and a new MusicWatch study suggests growth will continue. For the Record: How Vinyl Got its Groove Back — to the Tune of a Billion Dollars: …A few weeks ago at the Music Biz conference, MusicWatch founder Russ Crupnick presented a new consumer research study on the topic, “Revelations About the Vinyl Revolution,” about where this growth is coming from and why – as well as how the business might expand. (The study was funded by the Music Business Association and the RIAA.) Based on more than 1,400 consumer surveys, including more than 900 vinyl buyers, the report segments the market of vinyl buyers according to how long they’ve been collecting (38% more than a decade, 30% between three and 10 years, and about a third less than two years) and how often and why they buy. Although we tend to think of vinyl buyers as a particular tribe, there are more of them than most people realize – 17.6 million in the U.S. That’s more than a third of the number of Americans who bought tracks as downloads at the peak of that market. And although 26% are “veteran and committed,” there are also consumers who focus more on packaging (26%) and artists (20%), as well as pop fans (12%) and “new occasionals” (15%).