Eastern District of Virginia: Copyright Infringement and RICO Violations (E.D. Va.)
Explore the ongoing journey to protect intellectual property rights. Each litigation highlights key aspects of infringement and systemic misconduct. For transparency and public understanding, detailed PDFs of the complaints and audio files are available below.
1. Jennifer Lopez: That's The Way
Claims: Copyright Infringement, RICO Violations
Summary: Released during open litigation in 2000, this song showcases fraudulent concealment and a systemic pattern of infringement. Comparisons to "Assumptions Day" reveal significant thematic and lyrical overlaps.
Evidence: AI and forensic musicology reports emphasize parallels
2. Brandy Norwood: I Wanna Fall In Love
Claims: Copyright Infringement, RICO Violations
Summary: Released in 2002, during ongoing litigation, the song draws heavily from "Made A Champion." Thematic and lyrical similarities highlight patterns of reuse
Evidence: Comparative analyses of lyrics and formal musicology reports substantiate the claim
3. Destiny's Child: Say My Name
Claims: Copyright Infringement, RICO Violations
Summary: Detailed forensic analysis uncovered 15 significant similarities with "Assumptions Day." This flagship case underscores systemic infringement by Rodney Jerkins
Evidence: Comparative tables reveal thematic and structural parallels. This is a report by Dr. Robert Tomaro Forensic Musicologist, accompanied with AI analysis, forensic, artificial intelligence
4. Monica: All Eyes On Me
Claims: Copyright Infringement, RICO Violations
Summary: Released in 2002, the song mirrors themes and lyrical phrases from "Assumptions Day," continuing a pattern of exploitation during litigation underscores systemic infringement by Rodney Jerkins
Evidence: AI-driven analysis and expert testimony support the claim
5. MQ3: Every Day
Claims: Copyright Infringement, RICO Violations
Summary: Released in October of 1997 on the Mosaic album, this song exemplifies mosaic infringement, deliberately borrowing from "Assumptions Day" continuing a pattern of exploitation during litigation underscores systemic infringement by Rodney Jerkins
Evidence: Musicology reports confirm substantial similarities and concealed attribution.
6. Tatiana Ali: Daydreamin’
Claims: Copyright Infringement, RICO Violations
Summary: Released in October of 1997 on the Mosaic album, this song exemplifies mosaic infringement, deliberately borrowing from "Assumptions Day" continuing a pattern of exploitation during litigation underscores systemic infringement by Rodney Jerkins
Daydreamin’ closely mirrors thematic and lyrical elements foundational to the plaintiff’s original work, Assumptions Day. The lyric, “Somebody was talking to me, but I couldn’t understand a word they said,” explicitly references the plaintiff’s unpolished, home-recorded demo, which was hand-delivered to Teddy Riley’s studio on Virginia Beach Boulevard in 1997. This lyric acknowledges the unrefined yet distinct quality of the plaintiff's demo and establishes both access and acknowledgment.
Rodney Jerkins, mentored by Riley since age 15, was actively working in Riley’s studio during the time of the demo submission, placing him directly in the chain of access. Mary Brown, a collaborator with Jerkins on Daydreamin’ and co-writer of Destiny’s Child’s debut single No No No in 1997, further connects the systemic pipeline of access and infringement. No No No also draws heavily from the thematic elements of Assumptions Day, particularly the “social assumptions game” and themes of “knowing,” echoing the repetition of “No No No No No” with parallels to “knowing, knowing, knowing.”
The Wikipedia entry for No No No itself acknowledges that several demos were reviewed before the song was finalized, yet omits specific references to the plaintiff’s work. The mention of Brandy in relation to these demos reflects another layer of connection: the plaintiff’s earlier work, Made A Champion, subtly nodded to Brandy and resonated within the industry. These interlinked dynamics, compounded by Jerkins’ and Brown’s involvement, reveal a deliberate replication of themes and lyrical structures across Daydreamin’ and No No No.
This case, therefore, stands as a cornerstone of systemic infringement, where Daydreamin’ serves as undeniable evidence of the broader replication pipeline driven by Riley’s mentorship and Jerkins’ production influence. It ties directly to the plaintiff’s work and underscores the systemic nature of the defendants’ practices.
Evidence: Musicology reports confirm substantial similarities and concealed attribution.
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AI-driven forensic analysis reveals substantial lyrical and thematic similarities between Daydreamin’ and Assumptions Day, including mirrored phrasing (“what am I to do”) and thematic elements of social dynamics and self-reflection.
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Collaboration between Rodney Jerkins, Mary Brown, and their shared mentorship under Teddy Riley connects Daydreamin’ to Destiny’s Child’s No No No and exposes a systemic replication pattern.
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Lyrics and themes from Daydreamin’ and No No No repeatedly reference foundational elements of Assumptions Day, proving access, acknowledgment, and intentional replication.
7. Coko, Rodney Jerkins: “Sunshine”
Claims: Copyright Infringement, RICO Violations
Summary: Released in October of 1997 on the Mosaic album, this song exemplifies mosaic infringement, deliberately borrowing from "Assumptions Day" continuing a pattern of exploitation during litigation underscores systemic infringement by Rodney Jerkins. Thematic and lyrical elements in "Sunshine" directly align with motifs from the plaintiff’s demo, underscoring Jerkins’ continued exploitation of foundational material.
Evidence: Musicology reports confirm substantial similarities and concealed attribution. Comparative tables and forensic reports.
8. Chanté Moore, Rodney Jerkins - “Every Day”
Claims: Copyright Infringement, RICO Violations
Summary: Released in1999 on the "This Moment In Time" album, this song exemplifies intentional infringement, deliberately borrowing from "Assumptions Day" continuing a pattern of exploitation during litigation underscores systemic infringement by Rodney Jerkins. Thematic and lyrical elements in "Sunshine" directly align with motifs from the plaintiff’s demo, underscoring Jerkins’ continued exploitation of foundational material. Released during the height of Jerkins’ systemic misuse of the plaintiff’s work, this track demonstrates deliberate copying of lyrical and thematic elements from "Assumptions Day."
Evidence: Musicology reports confirm substantial similarities and concealed attribution. Comparative tables and forensic reports. Musicological analysis and historical comparisons.
9. Ray J, Rodney Jerkins: “One Wish”
Claims: Copyright Infringement, RICO Violations
Summary: Released on September 20, 2005 within Raydiation which is the third studio album by American recording artist Ray J., this song "One Wish" exemplifies intentional infringement, deliberately borrowing from "Assumptions Day" continuing a pattern of exploitation during litigation underscores systemic infringement by Rodney Jerkins. Thematic and lyrical elements in "One Wish" directly align with motifs from the plaintiff’s demo, underscoring Jerkins’ continued exploitation of foundational material. Released during the height of Jerkins’ systemic misuse of the plaintiff’s work, this track demonstrates deliberate copying of lyrical and thematic elements from "Assumptions Day." This track heavily mirrors motifs and thematic expressions from the plaintiff’s work, "Assumptions Day." The use of longing and conditionality in "One Wish" is unmistakably derivative of the plaintiff’s original material.
Evidence: Musicology reports confirm substantial similarities and concealed attribution. Comparative tables and forensic reports. Musicological analysis and historical comparisons.
10. Adele: “Easy On Me”
Claims: Copyright Infringement, RICO Violations
Summary: This song borrows extensively from the plaintiff’s literary work, "The Black Rolls and The Red Ledger," employing similar metaphors and water imagery to create an emotional narrative.
Evidence: Musicology reports confirm substantial similarities and concealed attribution. Comparative tables and forensic reports. Musicological analysis and historical comparisons.
11. Drake and Adonis Graham: “My Man Freestyle”
Claims: Copyright Infringement, RICO Violations
Summary: This track draws heavily from the plaintiff’s copyrighted literary work, "The Black Rolls and The Red Ledger," demonstrating cross-medium infringement of literary and musical motifs.
Evidence: Musicology reports confirm substantial similarities and concealed attribution. Comparative tables and forensic reports. Musicological analysis and historical comparisons.
12. Ariana Grande, Rodney Jerkins: “God Is A Woman”
Claims: Copyright Infringement, RICO Violations
Summary: Drawing parallels between Jerkins’ earlier patterns of infringement and this track’s thematic structure, "God Is A Woman" highlights the persistent misuse of the plaintiff’s creative works. AI-driven analysis showcases how foundational elements from "Assumptions Day" resurfaced decades later.
Evidence: Musicology reports confirm substantial similarities and concealed attribution. Comparative tables and forensic reports. Musicological analysis and historical comparisons. Cross-era forensic analysis and musicological reports.