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Ye Testifies in Federal Copyright Trial Over Donda Sample

5/7/2026, 11:24:33 PM

Background & Context

In July 2021, Ye (formerly Kanye West) staged a public listening event for his album *Donda* at Atlanta’s Mercedes-Benz Stadium. A demo of the track “Hurricane” performed at that event contained a sample of the instrumental “MSD PT2.” Four producers—DJ Khalil (Khalil Abdul-Rahman), Sam Barsh, Dan Seeff, and Josh Mease—later sued Ye, alleging the sample was used without clearance. The plaintiffs filed the action through Artist Revenue Advocates LLC, a Texas-based entity created to represent the four musicians.

Key Figures & Groups

  • Ye (Kanye West) – Defendant, rapper and songwriter.
  • Producers – DJ Khalil, Sam Barsh, Dan Seeff, Josh Mease (identified as “John Mease” in one source).
  • Artist Revenue Advocates (ARA) – Legal entity representing the producers.
  • U.S. District Court, Central District of California – Venue of the trial.
  • Presiding Judge – Issued a February ruling limiting the case to the “Hurricane” demo sample.

Timeline of the Dispute

  • July 22 2021 – “Hurricane” demo with the alleged sample played at the *Donda* listening event.
  • August 2021 – Final version of *Donda* released; “Hurricane” reached No. 6 on the Billboard Hot 100 and won a Grammy for Best Melodic Rap Performance.
  • 2024 – Lawsuit filed by the four producers via ARA.
  • February 2026 – Judge dismissed the composition-rights claims, leaving only the master-recording sample claim.
  • May 5/6 2026 – Ye testified in federal court; the exact date varies across reports.

Data & Statistics

  • “Hurricane” peaked at No. 6 on the Billboard Hot 100 and earned a Grammy.
  • Plaintiffs seek damages ranging from $500,000 to $564,046, citing ticket sales, merchandise revenue, and a $750,000 Apple Music livestream deal tied to the 2021 event.
  • The listening event attracted tens of thousands of fans; the demo was one of several tracks previewed.

Official Statements & Responses

Ye testified that his team “went through the normal process to get it taken care of,” emphasizing his practice of crediting collaborators. He argued that the producers “intentionally stalled” negotiations and that fans would have purchased tickets regardless of the song’s inclusion. Plaintiffs’ lead counsel, Eduardo Martorell, questioned ARA’s funding and noted the company’s lack of transparency. ARA manager Britton Monts described the firm as a vehicle for “working musicians” who lack resources to enforce their rights. The judge’s February order clarified that ARA holds only the master-recording rights, not the underlying composition rights, thereby narrowing the trial’s scope.

Criticism & Opposition

The producers contend that Ye used an “uncleared sample” in the demo and that they received only “some small payments” despite the track’s commercial success. Dan Seeff testified that industry standards allocate 50 percent of composition publishing to instrumental composers, suggesting the plaintiffs’ share should be larger.

Conflicting Reports & Gaps

  • Testimony date: Sources list May 5 and May 6, 2026.
  • Damages sought: Figures range from $500,000 to $564,046.
  • Producer name: Four-th musician identified as Josh Mease in most reports, but one source names “John Mease.”
  • Scope of claim: Initial filings included “Moon,” yet the judge’s ruling removed that track from the trial.

Verbatim Quotes

  • “We went through the normal process to get it taken care of,” — Ye, testimony
  • “I pride myself on giving people what they deserve.” — Ye, testimony
  • “I feel like a lot of people try to take advantage of me.” — Ye, testimony
  • “What’s the real name?” — Ye, response to attorney’s question about “Brothers in Paris.”
  • “We don’t know who owns Artist Revenue Advocates, because they won’t tell us.” — Eduardo Martorell, plaintiff’s lawyer
  • “He also told jurors it was standard in the music industry for composers of instrumental music to receive 50 percent of a song’s composition publishing, with the remaining 50 percent divided among the writers of the melody and lyrics.” — Dan Seeff, witness testimony

Why It Matters

This trial marks the first instance in which Ye’s copyright disputes have proceeded to a full jury hearing, potentially shaping how high-profile artists negotiate sample clearances and how producers enforce royalty rights. The outcome could influence future litigation involving sampling practices and the financial responsibilities of major recording projects.