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Producer: Beyonce Stole Credit For Bootylicious

February 25. 2010

Beyonce

Producer Rob Fusari has accused screaming singer Beyonce of stealing writer's credit for the 2001 song she sang entitled "Bootylicious." Not that Mr. Fusari is a beacon of integrity himself, as Lady Gaga's "Paparazzi" is not an original work. As with Rich Harrison, the producer and writer of the Beyonce performed song, "Crazy In Love" (2003), Fusari insists the song lyrics, music sample and backing music were his idea, but her dad, Matthew Knowles, strong-armed him out of credit and some of his publishing royalties for the track. 

The song's title "Bootylicious" is a made up word that was stolen from a copyrighted, preexisting 1994 Snoop Dogg song entitled, "What's My Name." Yet it is another item Beyonce has taken credit for, overcompensating in repeatedly stating in interviews that she came up with the word "Bootylicious" when it was on one of the most famous rap albums in music history almost a decade prior to her taking it for a song title.

One has to wonder if Beyonce is severely mentally ill, to keep insisting preexisting copyrights she has stolen from a number of people, are her original creations, when the Copyright Office in Washington DC and court cases state otherwise. To go to such sick extremes in interviews, repeatedly insisting you wrote something that there is a clear, time stamped history of having existed before you claim wrote it, is patently psychotic.

Beyonce and her dad have repeatedly strong-armed and bullied established producers and writers into giving up their songwriting credits and publishing royalties, or they cannot work with her, while flat-out criminally stealing and infringing preexisting copyrights from lesser known and unknown independent writers they prey on.

The fact of the matter is Beyonce is unintelligent to the point it borders on illiteracy, yet consistently takes writer's credit, hefty royalty payments and awards for writing songs she did not author in any manner whatsoever. These acts constitute criminal violations of the U.S. Code. Another musical Madoff, if you will.

Every major hit she has ever had and taken writer's credit for, was either strong-armed away from an established writer/producer or criminally infringed works of indie artists and writers she and her dad ripped off, believing they could buy out court cases if need be, as fledgling composers will not have the money to fight their financial crimes.

However, in my case, much more has been at stake, as the proceeds from my copyrights were to go towards producing cures to cancer and AIDS, via scientific and medical research and helping disease sufferers live longer, healthier lives. You have blood on your hands and God will punish you for that. You can count on it.

STORY SOURCE

Beyonce Knowles - Producer Upset Over Beyonce Writing Snub

25 February 2010 12:24 - Producer ROB FUSARI was devastated when BEYONCE took credit for composing BOOTYLICIOUS, alleging it was his idea to use a STEVIE NICKS' riff in the DESTINY'S CHILD hit. Fusari insists it was a "bittersweet" experience working with the R&B trio on the 2001 track - the catchy song went on to top the charts but Beyonce's dad and manager Mathew allegedly forced him to compromise his ideas for the project. And he was further offended after the frontwoman claimed she was responsible for sampling Nicks' 1981 guitar part.

Fusari tells Billboard magazine, "I came up with the idea to build a track using the guitar riff from Stevie Nicks' Edge of Seventeen..."I remember watching Barbara Walters interview Beyonce about Bootylicious, and she told Barbara about how she came up with the idea for the track."

Fusari, who went on to help Lady Gaga launch her pop career, insists he was brushed off when he complained about the interview, adding, "I called Mathew - which was a big mistake; I got emotional, and I apologised after - but I called Mathew and said, 'Mathew, like, why?' He explained to me, in a nice way, he said, 'People don't want to hear about Rob Fusari, producer from Livingston, N.J. No offence, but that's not what sells records. What sells records is people believing that the artist is everything.' And I'm like, 'Yeah, I know, Mathew. I understand the game. But come on, I'm trying too. I'm a squirrel trying to get a nut, too.'"

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