George Clinton Sues Former Business Partner Over Copyrights to Iconic Funk Music
George Clinton, the pioneering figure behind the legendary Parliament-Funkadelic collective, has launched a legal battle against his former business associate, Armen Boladian, alleging a widespread scheme to fraudulently seize control of nearly 90% of his musical catalog. The lawsuit, filed in the Northern District of Florida, accuses Boladian and his various entertainment entities, most notably Bridgeport Music, of systematically defrauding Clinton out of his rightful ownership and royalties related to some of the most influential funk anthems ever created.
At the heart of the dispute are the copyrights to a treasure trove of Parliament-Funkadelic’s signature songs, including the infectious "Atomic Dog," the electrifying "Flashlight," the unifying "One Nation Under a Groove," and the boisterous "We Want the Funk (Tear the Roof Off)." Clinton asserts that Boladian, over a period spanning several decades, employed a series of deceptive tactics to diminish Clinton’s stake in these musical masterpieces and unjustly enrich himself.
The lawsuit details a pattern of alleged misconduct by Boladian, including the surreptitious addition of fictitious songwriters to the copyright registrations of Clinton’s compositions, effectively diluting Clinton’s share of songwriter royalties. Clinton further alleges that Boladian routinely pressured him to sign blank contracts, granting him unchecked authority over Clinton’s intellectual property. Most egregious, Clinton claims that Boladian repeatedly signed agreements on Clinton’s behalf without his knowledge or consent, unlawfully claiming ownership of Clinton’s music and depriving him of his deserved compensation.
Representatives for Boladian have so far remained silent on the matter, declining to comment on the allegations leveled against him.
The legal filing outlines the timeline of Clinton and Boladian’s business relationship, which initially commenced in 1968 and continued until 1975. Their collaboration was later revived from 1981 through 1990. It is during these periods that Clinton believes Boladian executed his alleged scheme to gain control over Clinton’s musical legacy.
Adding another layer of complexity to the case, the lawsuit paints Boladian and his companies as notorious "copyright trolls," known throughout the music industry for their aggressive pursuit of copyright infringement lawsuits, primarily targeting artists who sample Clinton’s music. The lawsuit asserts that Boladian’s companies, operating as essentially "one-man" operations with minimal staff and assets beyond their copyright holdings, have built a business model around suing other producers and artists who utilize samples of songs to which they allegedly fraudulently acquired rights.
The lawsuit contends that Boladian is currently collecting royalties from Clinton’s catalog while unjustly withholding tens of millions of dollars from the funk icon. While actively pursuing copyright infringement lawsuits against others, Boladian and his companies are allegedly failing to provide a proper accounting of royalties owed to Clinton.
Boladian and Bridgeport Music have previously engaged in copyright infringement battles against a who’s who of hip-hop royalty, including Jay-Z, Public Enemy, The Notorious B.I.G., and N.W.A., underscoring their reputation as litigious enforcers of copyright law.
Clinton, a recipient of the prestigious Grammy Lifetime Achievement Award, claims to have suffered significant economic harm as a direct consequence of Boladian’s alleged fraudulent activities.
Clinton’s legal team further alleges that Boladian has a history of exploiting vulnerable artists, including the theft of master recordings and the exploitation of "young, gifted artists." The lawsuit also raises the specter of racial bias, asserting that Boladian harbored discriminatory views regarding Black artists’ understanding of copyright law and legal proceedings.
The lawsuit quotes Boladian as allegedly expressing his belief that Black artists lacked the education and intelligence to comprehend complex legal concepts, such as copyright infringement. Based on this alleged viewpoint, Clinton’s legal team argues that Boladian felt emboldened and entitled to defraud artists like Clinton.
Clinton is seeking a jury trial to resolve the dispute and obtain justice for the alleged wrongs committed against him.
This is not the first time Clinton and Boladian have clashed in the legal arena. Their legal battles date back to 1981. Clinton has long maintained that Boladian stole his copyrights, a claim he reiterated in his 2014 memoir, "Brothas Be, Yo Like George, Aint That Funkin Kinda Hard On You?" Boladian responded by filing a defamation lawsuit against Clinton, but Clinton ultimately prevailed in 2021, with the jury finding that he did not defame the producer.
This latest lawsuit represents a significant escalation in the ongoing dispute between Clinton and Boladian, potentially impacting the ownership and control of some of the most celebrated and influential music in the funk genre. The outcome of the case could have far-reaching consequences for the future of copyright law and the rights of artists in the music industry.
