Taylor Swift, Lisa Christianson, Hammerstein Lisa discussed on Q
Seven rings Taylor. Swift's? Look what you made me do and the verbs bittersweet simple symphony all three of the songs are massive hits. All three borrowed directly from three. Well known songs by other artists, and then they had to pay them. Verve. Took from the Rolling Stones Taylor took from right said Fred Ariana lifted that melody directly from Rogers and Hammerstein the sound of music now you may have heard yesterday. Oh, you're seeing on the show that area Anna signed over ninety percent of the royalties to that saw of that song to Rogers and Hammerstein Lisa. What do you think about that number might be a bit low? Hey when you listen to that. And it's not like. Obscure song that no one's ever heard of to go watch C ripped off this artists. I've never heard of him and that was pretty hard. Not to notice that. So I think that's a great sign. I think also as an artist it's makes a lot of sense to show that you respect the creative process and you'll pay for it. Yeah. Harming how about how about you ninety does that? How do you feel about that number? I'm not surprised by that at all my favorite things is one of the most recognizable songs from the sound of music. And if somebody's going to use that song or borrow it in any way, why not get in your bag charge them as much as you possibly can. This is why you've no rights ownership rights to music is such an important thing know, a fair amount about music publishing harmony, how are these things usually divvied up in a nutshell? It's up to the publisher in the composer's to decide what the split side publishing. Math can get very tricky very quickly, especially if there are multiple composers and multiple publishers involved in the song. That could mean so first implicity sake. Most people split the the rights equally split the shares equally just to avoid any conflict or delays in releasing the song that could meet I write ninety five percent of a song and you come along. And right one lyric and we both own equal amounts of that's not not bad for. The cliche is at all the songs have been written. There are only so many notes in so many orders that you can play these those notes so in a perfect world. Where is the line? Lisa. What line would have to cross for you to say that there should be credit, given if you're hearing this on for the first time and you go oh come on. That is outrageous. That is exactly the song. I've already heard before if that's in your head. There's a problem, and that's my line. Okay. So the oh come online. Oh, come on. If you have to hear it like that in your head to. So there's a there's a come online. Is there is there? Also, no you didn't line. Various did. You think you'd get away with? I think yes, if you remove my part of the song and something huge is missing from your track that, yes, I need my credit. And I think it's interesting though to look at sampling as interpretation as ripping off. I don't think it's that at all. And I think some artists are actually really open to having their songs introduced to a new a new audience. So it's a good thing. And I mean, look at staying owning eighty five percent of juice world's lucid dreams his kids. Eat off of that song forever. What's wrong about making money in your sleep? Is what I say. I think you've just got to be open about doing it. I mean, I know that Taylor swift had already talked to right said Fred before that happened before it came out that all of that arrangement had happened. And I think that's where we feel better as opposed to having to listen. And and know that it may be an artist is going to have to go to court for something. Right. Exactly. It's it's best to get permission round and do it and then beg for forgiveness. Sure. Well, thanks to you both for weighing in on this, a harmony of music, critter critic and writer here in Toronto. Lisa christianson is a producer and arts reporter for CBS's on the coast. She joined us from studio in Vancouver. Thanks to you. Both. Thank you. Afternoon. Oh boy. Coming up next.