The Intersection of Legacy and Innovation: The Barry White Estate Lawsuit Against Rodney-O & Joe Cooley in Relation to Future and Metro Boomin’s “Like That”
In October 2024, a lawsuit was filed by the Barry White Family Trust, targeting 1980s rap duo Rodney-O & Joe Cooley over copyright infringement tied to their classic song “Everlasting Bass.” This legal action emerges from the intricate web of musical sampling and interpolation, where creative works from the past inform and inspire contemporary artists. At the heart of the dispute lies Future and Metro Boomin’s hit track “Like That,” which features interpolations from Rodney-O & Joe Cooley’s aforementioned song. Although Kendrick Lamar, Future, and Metro Boomin are instrumental in the creation of “Like That,” it is crucial to note that they are not named as defendants in this lawsuit. The blame falls squarely on the shoulders of the original sample’s creators, indicating the complexities of music rights and protections within the industry.
The core argument of the lawsuit is that “Everlasting Bass” incorporates elements of Barry White’s 1973 classic “I’m Gonna Love You Just a Little More Baby.” The implications of this legal challenge are significant, as it raises questions about the lineage of musical inspiration and the acknowledgement of artists’ contributions across generations. The Barry White Family Trust’s assertions hinge on the notion that their creative work has been inadequately credited in a direct descendant of a sampled song. Ultimately, they seek “all profits and damages” derived from the perceived infringement, underscoring the financial stakes often entwined with artistic creation.
Such lawsuits illuminate the complicated landscape of copyright law in music, particularly in hip-hop and R&B genres, where sampling has long served as a pivotal artistic technique. The legal complexity is heightened in this instance because Future and Metro Boomin, alongside Lamar, crafted “Like That” through a process that legally encompasses agreements and indemnity clauses, which protect them from being implicated in any wrongdoing due to issues stemming from the original “Everlasting Bass.” The Barry White estate has opted to pursue Rodney-O & Joe Cooley due to the latter’s position as the intermediaries from whom the sample originated, thereby enforcing a hierarchy of responsibility that is often intrinsic to music production.
The timing of the lawsuit is also noteworthy. The complaint indicates that the Barry White estate was unaware of the potential infringement until now, a point emphasized by the assertion that “Everlasting Bass” was not widely distributed at its inception in the mid-1980s due to the less pervasive nature of media access compared to today’s internet era. This element of historical unawareness highlights the evolving nature of music consumption and the ramifications for past works once they resurface in contemporary hits. It raises critical considerations regarding the preservation of musical heritage alongside the rights of original creators, especially as new technologies render older works more accessible than ever.
As the lawsuit unfolds, it serves as a reminder of both the fragility and resilience of artistic expressions within music. At its core, this case navigates the challenges faced when honoring the past while paving the way for modern creativity. Future and Metro Boomin’s “Like That” exemplifies the rich dialogue between generations of musicians, simultaneously paying homage to their influences while adapting their sounds for a new era. The outcome of this legal dispute may ultimately redefine the parameters of creative freedom in the wake of stringent copyright enforcement.
In conclusion, the Barry White estate’s lawsuit against Rodney-O & Joe Cooley opens a critical discourse on the nature of musical appropriation, legacy, and recognition in a rapidly evolving industry. As artists seek to navigate the fine line between inspiration and infringement, the implications of such legal battles resonate far beyond monetary gains or losses—they challenge us to consider how we value and protect artistic contributions that have shaped the very fabric of music today.
