By Anthony McCartney, Entertainment Writer
LOS ANGELES (AP) --Jay Z told a jury Wednesday that he believes he has a valid license to use Arabic music featured on his 1999 hit "Big Pimpin'" that is now the subject of a copyright infringement trial.
The rap superstar spent roughly 90 minutes testifying in a federal courtroom Wednesday, recounting his life, his successes and the creative process that led him and music producer Timbaland to create "Big Pimpin'," which was his first major hit single.
Jay Z and Timbaland are being sued by an heir of Baligh Hamdi, an Egyptian composer who created the 1957 hit "Khosara Khosara" that has elements featured in the rapper's hit.
The rapper, whose real name is Shawn Carter, used one of his old CDs – introduced into evidence by a lawyer for Hamdi's family – to illustrate his point.
"We have the rights as you can see on the bottom of the CD," Carter told jurors, referencing liner notes that credits "Khosara Khosara."
The rapper mixed his testimony with no-nonsense, one-word answers, humility about his success and humorous moments.
When Pete Ross, the lawyer for Hamdi's nephew, attempted to show him a passage in a book Carter had written about his lyrics, the performer wryly said, "You can read it from over there."
The courtroom burst into laughter, as it did again when Carter was asked by his own attorney about artists whose careers he had fostered, including Rihanna, J. Cole and Kanye West.
"Some people may have heard of him," Carter's attorney, Andrew Bart, said of West.
"One or two," Carter responded. "He's running for president."
The rapper was more serious when questioned about the rights to "Khosara Khosara," which he said he thought had been properly negotiated after issues were raised following the release of "Big Pimpin'."
Carter gave mostly curt answers, responding "yes" or "no" or "correct" to many questions.
Lawyers for Carter and Timbaland, whose real name is Timothy Mosley, told jurors on Tuesday that Hamdi's family had been repeatedly paid for the use of "Khosara Khosara." Four notes from the song's 74 notes are repeated throughout "Big Pimpin'," a music expert testified Wednesday.
Carter said Mosley introduced the "Khosara Khosara" melody to him just as he was about to leave a meeting. He said there wasn't anything like it on the radio at the time, and he put together the bulk of the song over the next few hours.
The rapper said he likes working with Timbaland because they push each other.
"He tells me his beats are better than my raps. I tell him my raps are better than his beats," Carter said. "It's an ongoing thing that I keep winning."
Mosley and many in the courtroom laughed.
Carter sang the producer's praises, calling him a genius whose work transcends any one genre.
Jurors on Wednesday also heard from experts on Egyptian law and a videotaped deposition of Hamdi's nephew, Osama Ahmed Fahmy. Fahmy testified that he never contacted Carter, Mosley or numerous music companies he sued before filing suit in 2007, calling the case "the work of an attorney."
Defense lawyers are expected to begin their case on Thursday.
Ross has accused Carter of lacing vulgar lyrics over Hamdi's beautiful melody without receiving the proper permission, although "Big Pimpin's" lyrics are not an issue in the case.
Carter declined to say Wednesday that the song, which is about leading a promiscuous lifestyle, was vulgar. He said the song featured "adult lyrics" and he still enjoyed performing it.
"I like the song," Carter said. "It's pretty good."
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this โ and those many "Babadook" memes โ unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables โ "Bah-Bah-Doooook" โ an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More