In a significant legal development, the estate of Dr. Khalid Muhammad has filed a trio of federal lawsuits in California, targeting major record labels and artists such as Tupac Shakur, Public Enemy, and D’Angelo for allegedly using his speeches without permission or compensation. The lawsuits demand $5 million per track for each infringement, along with legal fees and a permanent injunction to prevent further unauthorized use.
Attorney Malik Zulu Shabazz, representing Muhammad’s estate, clarified that the lawsuits are not an attack on the artists themselves but rather a call for accountability within the music industry. “The record labels and music corporations exploited Khalid Muhammad’s voice for profit, just like they’ve done to the Black artists whose songs featured him,” Shabazz stated. He emphasized that many artists involved do not even own the rights to their own music, further complicating the issues of exploitation in the industry.
The estate specifically highlights the use of Muhammad’s voice in Tupac’s 1996 song “White Man’z World,” as well as D’Angelo and The Vanguard’s track “1000 Deaths.” Notably, the classic Public Enemy song “Night of the Living Baseheads” could face significant changes if the introduction featuring Dr. Muhammad’s voice is removed, which would alter the track’s essence.
Dr. Khalid Muhammad, a prominent figure in the Black Panther movement and former spokesman for the Nation of Islam, is known for his passionate advocacy for Black empowerment. His estate argues that his contributions have been overlooked, with his name omitted from the credits of many influential records that sampled his speeches without clearance.
“Khalid Muhammad should have received proper credit on these iconic records,” Shabazz expressed, emphasizing the importance of his legacy. The funds from these lawsuits are intended to support educational initiatives, including schools, books, training academies, and documentaries that honor his life and message.
The estate has also issued legal notices to other artists under review, including Ice Cube, Common, and Black Thought, demanding documentation of any licensing or royalty agreements involving Muhammad’s voice. Shabazz underscored that this effort is about more than just financial compensation; it is about fulfilling Muhammad’s mission and ending the cycle of exploitation that has persisted in the music industry.
As these lawsuits unfold, they bring to light critical conversations about ownership, credit, and the responsibility of the music industry towards the voices that have shaped its landscape. The outcome could have significant implications for both the artists involved and the broader industry. Stay tuned for updates on this developing story.
