First of all, we were as shocked and saddened by Juice WRLD’s death as everyone else. It is a tragic loss to his family, his fans, and to the music world at large, and we understand why people may be confused about the decision to continue with this lawsuit. My clients are certainly torn about proceeding, and understand the optics involved. But it is important to remember that this lawsuit was filed before this tragic event, and was filed because all of the defendants (and there are 2 other writers and several music publishers and record labels), profited off of what we believe was clear copying and infringement of Yellowcard’s work. We have an expert report making that clear. So while they are absolutely aware of how this may be perceived, and truly have incredible mixed emotions, the question is whether it is fair that all of those many parties profited, and will continue to profit, off of what my client’s believe strongly was their work. We should also mention that it has been falsely reported that Yellowcard is demanding a specific amount of damages. They are simply seeking what the law allows, and what parties in their position have sought in similar cases, which at this point is not determined.
Today, the pop-punk band filed a motion to extend the amount of time parties for Juice Wrld and his co-defendants Taz Taylor, Nick Mira, and the two labels Juice’s is signed to—Grade A Productions and Interscope Records—have to respond to the complaint filed against them. The original due date for the defendants’ response to the lawsuit was Dec. 9, but now they have until Feb. 4, 2020.
During this time, I was able to further confirm how much I love mixing and I decided I wanted to pursue it exclusively when the band ended. My experience making music as an artist puts me in a unique and advantageous position as a mix engineer, as I know exactly how to approach a mix from the perspective of the artist. I pride myself in being communicative, cooperative, and eager to make sure the artist’s vision is being fully realized. I’m now mixing full time at my studio in Burbank, CA, and I’d love to discuss mixing your record, single, demo, or any other piece of music you might have.
Chris Eggertsen, writing at Billboard:
According to a complaint filed Monday (Oct. 21) in U.S. District Court in California, former Yellowcard members William Ryan Key, Peter Michael Mosely, Longineu Warren Parsons and Sean Michael Wellman-Mackin allege Juice WLRD and his collaborators copied “melodic elements” from their 2006 song “Holly Wood Died” for the rapper’s blockbuster 2018 single without permission. They’re asking for damages in excess of $15 million and a “running royalty and/or ownership share” on all future exploitations related to the song or, alternatively, statutory damages “for each act of copyright infringement” and for defendants to be “permanently enjoined” from exploiting “Lucid Dreams” in the future.
Yellowcard’s attorney, Richard Busch, issued a statement about the lawsuit in which he explained, “This was not a lawsuit the guys wanted to file. They put all of the parties on notice a long while ago and gave them every opportunity to try to resolve it. That notice was pretty much ignored leaving them with no real choice. As alleged in the Complaint, this is not just a generic Emo Rap song, but is a blatant copy of significant original compositional elements of Holly Wood Died in several respects. Beyond that, everything we have to say is in the Complaint.
Now that I’ve ventured out in to doing my own music, it’s pretty distant from the music that Yellowcard was making. So if I was going to play a solo slot it wouldn’t make a lot of sense to play this indie folk post-rock sound that I’m making. Also I feel like it’s a cool for these types of festivals to be able to represent Yellowcard in some way. I’m not trying to revive the band or get anyone pumped up for a reunion but those songs are a big part of us and mean a lot to the fans. It’s a nice way to pay tribute to all of those who supported the band over the years. In essence I’m now playing cover songs!
This weekend marked the 15th anniversary of one of my favorite album release dates in my lifetime. On July 22nd, 2003 both Yellowcard’s Ocean Avenue and Thrice’s The Artist in the Ambulance were released. I was home between my sophomore and junior year of college and both albums imprinted on me like few ever have. Driving around my hometown, seeing old friends, reigniting old flames, these two albums became a part of my summer. AbsolutePunk.net was just becoming something I thought I wanted to do with my life and much of what that website would become was created with these two albums as the soundtrack. I was still very much trying to figure out who I was as a person, and these albums felt like a foothold of hope on the future. Watching Yellowcard’s meteoric rise, a bunch of kids that felt almost like peers, gave me a boost of confidence during a time I needed to think things could get better. The world was changing, my world was changing.
15 years later that summer remains one of the best of my life. The friendships made, the hearts broken, the speakers blown out, it all feels like a moment frozen in time. An idealized summer that probably wasn’t nearly what I’ve made up in my mind all these years later. But I hold it dear nonetheless. And when I put on Ocean Avenue, and hear “Back Home,” I’m transported back 15 years ago when that song meant everything to me. A rallying call for what my life was and a romanticized version for what I wanted it to be. And that feeling of home intersplices with the intensity of Thrice’s The Artist in the Ambulance, an album I used as an outlet for my anger at the world, at the war, at myself and all the chaos that felt just beyond the borders of my hometown. Two sides of me dueling it out through two albums released on the same day, during the same summer.
So, here’s to you July 22nd, 2003. I’ll always remember you fondly.
Ryan Key, formerly of Yellowcard, has posted up a new store where you can order handwritten lyrics of any song Ryan’s written. Personally, I love these kinds of things. They make great, one of a kind, gifts and are a really smart way for artists to market and sell a part of their music to die-hard fans.
Sidebar: I’ll never understand someone sliding into someone’s mentions, repeatedly, just to be a dick.
I was beyond excited when I found out I was going to get to work with Venom for my first ever attempt at writing a comic. I don’t know if you can count the comics I wrote and drew during class as a kid. Spider-Man was a huge part of my childhood and Venom has always been, without a doubt, one of my all-time favorite villains in the Marvel Universe. I feel like Logan has always had a “dark side” himself and this version of him in his older age where he slips into this apathy we saw in the first [“Old Man Logan”], provided an opportunity to fuse him with the symbiote and awaken that rage we’ve always seen from him. Just the thought of Wolverine in a Venom suit was more than enough to get me on board for this!
It’S 2001. A young band called Yellowcard, fresh transplants to California by way of Jacksonville, Florida, is playing its first ever sold-out show. The city is Anaheim, California and the venue is Chain Reaction, a cramped but legendary punk rock club that has become a rite of passage for all up-and-comers.
The five members onstage aren’t the most polished live performers, but they have bounds of energy and display a promising potential. The drummer is a stickmaster with some of the quickest hands you’ve ever seen and the lead singer displays a surefire ear for melodies. But what stands out most is the presence of a violinist, which you think is an odd novelty for a rock band at first yet surprisingly fits in well.
I’ve loved reading all the Yellowcard retrospectives over the past few days and all of the memories shared by fans in our forums. This band was a staple for so many people and a true testament to the impact music can have on a listener.