It looks like ANOTHER example in a long, long history of WHITE THEFT of black intellectual property, which includes inventions, music, dance, and, yes, novels that are turned into screenplays and mega-franchises.
I heard about this story several years ago and fully expected it to be swept under the rug–FOREVER. I’m pleased to see Ms. Sophia Stewart is STILL bravely fighting such a powerful industry (and enemy) and that she is still alive AND breathing.
(CORRECTION: I sent out an email earlier today that reported Ms Stewart won a 2.5 billion-dollar settlement but that was false. The court battle is still ongoing).
A recap of her journey (excerpted from poptopictvonline)
“Stewart filed her case in 1999, after viewing the Matrix, which she felt had been based on her manuscript, ‘The Third Eye,’ copyrighted in 1981. In the mid-eighties Stewart had submitted her manuscript to an ad placed by the Wachowski Brothers, requesting new sci-fi works.
According to court documentation, an FBI investigation discovered that more than thirty minutes had been edited from the original film, in an attempt to avoid penalties for copyright infringement. The investigation also stated that ‘credible witnesses employed at Warner Brothers came forward, claiming that the executives and lawyers had full knowledge that the work in question did not belong to the Wachowski Brothers.’
These witnesses claimed to have seen Stewart’s original work and that it had been ‘often used during preparation of the motion pictures.’ The defendants tried, on several occasions, to have Stewart’s case dismissed, without success.
Stewart has confronted skepticism on all sides, much of which comes from Matrix fans, who are strangely loyal to the Wachowski Brothers (and their counterfeit — my words) Matrix & Terminator franchises.”
To echo her 2004 press release:
“The Matrix & Terminator movie franchises have made world history and have ultimately changed the way people view movies and how Hollywood does business, yet the real truth about the creator and creation of these films continue to elude the masses because the hidden secret of the matter is that these films were created and written by a Black woman… a Black woman named Sophia Stewart. But Hollywood does not want you to know this fact simply because it would change history.”
(Since the story was reported, it was stated that the information that she had already won was false. But the fact does remain it is an on-going case and she did win the right to proceed with her suit).
Which reminds me of two recent news stories:
Top 5 songs on Billboard’s R&B Songs chart this week (October 19, 2013).
1. Drake: Hold On, We’re Going Home
2. Robin Thicke: Blurred Lines
3. Chris Brown: Love More
4. Robin Thicke: Give It To You
5. August Alsina: I luv This Sh*t
Robin Thicke’s label settles with Marvin Gaye’s family in ‘Blurred Lines’ lawsuit (January 15, 2014)
Marvin Gaye’s children, Nona Marvisa Gaye and Frankie Christian Gaye, have settled claims against a music company owned by Sony over Robin Thicke’s Grammy-nominated hit song “Blurred Lines.”
The Gayes had accused EMI of not pursuing a copyright infringement case against Thicke because “Blurred Lines” has similarities to Gaye’s “Got to Give It Up.”
A Los Angeles judge on Tuesday granted Nona Marvisa Gaye and Frankie Christian Gaye’s dismissal of their lawsuit against EMI, which is owned by Sony/ATV Music Publishing.
Documents say the Gayes and Sony have an agreement and claims against Sony can’t be brought again. A representative for the Gaye family said the terms of the settlement were confidential. Dueling lawsuits between the Gaye family and Thicke remain active.
A Little Background Info About Robin Thicke (the “Grammy” Award-winning songwriter who ripped off Marvin Gaye, a black male).
Thicke recorded his first demo as a teenager. According to Thicke, his father, wanting him to focus on his studies and graduate high school before pursuing music, would not pay for Thicke to record a four-song demo tape. The $1,000 demo ultimately was paid for by an uncle of one of the group members, Al Jarreau (a black male).
Thicke’s demo made its way to Brian McKnight (another black male), who was impressed enough with the 14-year old Thicke to bring him into the studio and work with him. “Anyway”, a song co-written with Thicke, was featured on McKnight’s second album I Remember You.
Thicke’s peers jokingly nicknamed him “Brian McWhite.” It was Thicke’s association with McKnight, who Thicke counts as one of his first mentors, that helped him to land his first recording contract with Interscope Records at the age of 16.
Robin Thicke is the first Caucasian male artist to top that chart on the Billboard Hot R&B/Hip-Hop Songs.
Let’s be CRYSTAL CLEAR. There is NO WAY in H, Robin Thicke OR Justin Timberlake (or the Osmond Brothers, or Elvis, for that matter). would have OR could have created, penned, or sung ONE LYRIC of ‘black-sounding’ music without the BLACK ORIGINATORS of black, soul, R&B, rock, or jazz.
At BEST, they are IMITATORS — and no amount of black or white fans, Grammys, or (manufactured) Billboard Music ratings changes ONE single fact — plus I strongly suspect the lack of new AND original black music talent getting exposure is due to the white-controlled music industry’s attempts to eventually REWRITE and control black music history.
Had TRUE black musical talents like Aretha Franklin, Stevie Wonder, and Curtis Mayfield been born 30 years later, I doubt we’d be listening to them on today’s radio stations.
There is a REASON we only hear and see the same handful of black entertainers and their industry-manufactured, mechanical-sounding, computer-synthesized “black” music on the radio, TV and in the AWARDS ceremonies.
THEY ARE LITERALLY REMOVING THE ” SOUL” FROM BLACK MUSIC AND MAKING IT WHITER
AND MORE SEXUALLY AND MORALLY DEVIANT
When black people praise and support these white imitators (get terminal amnesia) we are COMPLICIT in our own cultural white-washing and in its ultimate destruction.
The DOUBLE irony is Robin Thicke and Justin Timberlake are MAKING MORE MONEY off black music than ALL THE BLACK PEOPLE WHO TAUGHT THEM how to sing, dance, and “move” like black folks — COMBINED.
By buying this (stolen) music and buying tickets to the recent rash of films about “black His-Story” produced by White Hollywood — while BLACK filmmakers like Spike Lee are denied funds to make a movie about Malcolm X
we are COMPLICIT in HELPING TO SET THE STAGE for something much more dangerous.
To paraphrase something a friend recently said (to me):
When an enemy is in a more powerful position, they take control of their targets’ HISTORY and IMAGES, and RE-WRITE and FALSIFY them (like all the “Black His-Story” films that black people are blindly flocking to)
and once they get their TARGETS to submit to those fraudulent images AND false history as TRUTH–
The next move is: