Plagiarism: Thom Yorke has gastritis and Lana del Rey reasons


Every year there is at least one big case of plagiarism that everyone talks about. This time it arrived fast. Radiohead sued Lana del Rey, arguing that the song "Get Free" (2017) by this artist replicates the iconic "Creep" (1992).

Radiohead sued * Lana del Rey for her song "Get Free" (2017) alleging that plagiarized the melody of "Creep" (1992).

(* Lana del Rey says they sued her, Warner / Chapell released a statement denying this, they can compare the two songs here)

These discussions of similarity always have conflicting positions.

The plaintiff sees everything the same,
those who defend themselves claim originality.

The discourse is always the same and equally the two sides can be right.

It's simple: if you do your own work, you develop it with your own creativity and come up with a solution that reflects it is an original work. With that, it should be enough. With that we could defend ourselves.

Different thing is to take someone else's work and publish it as such; or build on this work (build little) and take it all as your own.

What I want to highlight here is that in these cases each of the parties has an "accurate" perspective. Radiohead can see that "Get Free" is similar to "Creep" and Lana del Rey says he wrote it without being inspired by that song.

What do we have left then?

To argue that it was a subject of "unconscious inspiration" like George Harrisón round. The Chiffons?

Continue reading Plagiarism: Thom Yorke has gastritis and Lana del Rey reasons

13 errors that only beginners make (2017)

All of our interviews are forced to answer the question "What is a mistake that only beginners make?".

This list will continue to grow, with the hope that one day we will stop being beginners.


An error that only beginners make?


"Go out and sing without tuning XD"

The Kanka - Right Rocks - Interview-The Kanka (Songwriter)

[Read the full interview here: "In a song you can say everything".]



"Show things done or created before finishing them".

Maria Linares - CreativeMomings-María Linares
(CreativeMornings / BOG Manager)

[Read the full interview with María Linares here: "There is nothing more powerful than collaborating with other people".]


"Sign contracts without hiring a lawyer".

Interview Pedrina and Rio- Pedrina (Songwriter)

[Read the full interview with Pedrina: "Art renews and heals by nature".]



"To think that everything will be easy and fast."

Interview Elsa and Elmar-Elsa and Elmar (Cantautora)

[Read the full interview with Elsa here: "Creating is what keeps me excited".]



"Believe that one lives to be a blogger".

@FatPandora-Adriana Convers (Fashion Blogger - @FatPandora)

[Read Adriana's full interview here: "The most important thing is to have a speech behind, that moves you and identifies you".]




Stephany Contreras - MusicMuv-Stephany Contreras (Co-founder of Music Muv)

[Read the full interview with Stephany Contreras here: "Live from the passion for music".]



"Sin of conservatives and not risk to create a product with differential attributes."

Dani Aragón - Musicalizza-Dani Aragón (Expert in music marketing -Musicalizza)

[Read the full interview with Dani Aragón here: "Musicians need a good dose of marketing".]



"Be dazzled by the first offer that comes to them."

Nicolás Mateus Manager Esteman-Nicolás Mateus (Music manager - Los Manejadores [Colombia])

[Read the full interview with Nicolás Mateus here: "Do not underestimate self-management".]



"Believe in fairy tales."

Andrés Correa-Andrés Correa (Songwriter)

[Read the full interview with Andrés Correa here: "Creating is a vital drive".]



"Do not read the fine print."

César Gómez - Uonset-César Gómez (CEO of Uonset)

[Read the full interview with César Gómez here: "Crowdfunding in music will continue to grow".]




"Be mediocre and conformist."

Raúl Gutiérrez (Director of Cinema)-Raúl Gutiérrez (Film Director)

[Read the full interview with Raúl Gutiérrez here: "For Santanderean film directors".]



"Your goals are dreams."

Elkin Robinson- Elkin Robinson (Songwriter)

[Read the full interview with Elkin Robinson here: "We are the Rock of the island of Providencia before the arrival of electricity".]



"I would like to be a beginner always. I'm great at making mistakes. They work so well for me even when I try my best to avoid them. But there is an enthusiasm, a curiosity, a naïveté, a freedom in the position of the beginner ... that are the maximum for creativity, for life, for courage, to find freshness, to be and to let it be (art, music, life) ".

Interview Torreblanca- Juan Manuel Torreblanca (Songwriter)

[Read the full interview with Juan Manuel Torreblanca here: "A band is something (I imagine) similar to a family or a couple (polyamorous)".]





Opening image credits:"Facepalm" by BobSymbols (CC-BY)


Yes there are royalties for composers in the digital age


Composers can receive royalties for the digital use of their songs ... and it's no longer a science fiction thing.

A few weeks ago we were giving a workshop on royalties in music inCreative Space Locus in the company of Association of the GEA music industry.At some point I said that I "paid to see" if the collective management societies in Colombia knew something about digital royalties.

And so. I went to ask them. They answered ... and they do know.

The subject is complicated but it can be digested like this:

  • Every time someone creates a song they become its author and the owner of certain exclusive rights.
  • These rights may have economic content (property rights);
  • Each time the song is copied, publicly reproduced (among other things) the author / owner receives a remuneration.
  • It does not receive the compensation directly. The normal thing is that a collective management society charges for him / her and then pays him / her.

So far the story is normal.

Public communication and phonomechanical royalties

Take for example a song by Tor Erik Hermansen and Mikkel Storleer Eriksen (production duo)Stargate) as "Too good at goodbyes":

Continue reading Yes there are royalties for composers in the digital age

"Creating is what keeps me excited" [Interview with Elsa and Elmar]

Interview Elsa and Elmar
We talk to Elsa and Elmar, the queen of spiritual pop.

Last week I was at the concert Caloncho in a bar in Bogotá. The Mexican band was opening Technicolor Fabrics and they invited Juan Pablo Vega to sing a song with them.

A group of people next to me asked, "You have not heard Elsa and Elmar?—

They should, I thought.
They should.

Because she belongs to that universe, because she is the queen of that universe, because her version of "Fuma" by Technicolor Fabrics is better than that of the concert.

Elsa is a singular singer-songwriter. He dislikes the pop schemes, dares to experiment and wins the game. Their interpretations are full of complicity, their sound envelops. A song like "Ancient Form" catches you and does not let go; because it entangles you in textures, because it manages to get under the skin.

In the 2015 he gave us "Rey"; and from there he has participated in multiple concerts and festivals, from Estereo Picnic to Rock al Parque, including being the opening act for Coldplay at his concert in Bogotá.



He is preparing new material and we are very anxious to think what comes in the sounds of Elsa and Elmar.

Continue reading "Creating is what keeps me excited" [Interview with Elsa and Elmar]

A matter of synchrony


Synchronization as a concept is fundamental for any audiovisual piece when it comes to music.

Label: CopyrightSynchronization is the act of adding music to a piece of content. Generally audiovisual content, but recently the growth of the video game industry has made this segment equally important. That's why we can not talk about movies or TV alone. The placement of a song in Fifa can make the difference of doing a world tour or not ... ask ChocQuibTown (Fifa '11).

The rules are simple:

  1. You have to have an audiovisual content or a video game and it needs music to accompany it.
  2. You have to define what song (and in which version) you want to synchronize.
  3. You must have the authorization of the owner of the economic rights of the musical work.
  4. You must also have the authorization of the owner of the related economic rights as a phonographic producer, on the phonogram (the recording).


That the rules are simple does not mean that they are easy to apply.

Defining what music should accompany the piece is a science in itself. The needs of the project must be understood, what the song contributes, what atmosphere it should generate, etc.

That all parties accept that the synchronization occurs (beyond the price) can be a nightmare if the authors are multiple or do not know who are the owners. You must have everyone's authorization to use the piece. Everybody. It is not always so clear.

The holders of both are paid. Of the composition, on the one hand and the phonogram, on the other.

They do not always coincide. Mentally we believe that all the music we hear is sung and composed by the same people. Nothing more false. An initial analysis leads to surprises like that neither Adele always composes her own songs ("Send My Love (To Your New Lover)" was written by Adele, Max Martin and Shellback).

As for phonograms, in the era of artists without labels, those usually do coincide. The independent artist owns his phonogram, controls it and must give approval.

The important thing is to have the process clear and ask the parties to accept.

PS: Does the theater also apply this? Well ... I would not see why not, but apart from the musical theater, I have not seen the first theater director who deigns to ask.

Related concepts

Music publishers.Managers of musical repertoire. They usually control the musical work and (depending on the contract) they look for opportunities to synchronize it.

Synchronization agencies. Companies responsible for bringing together the supply and demand of musical content for audiovisual projects. They can control the musical work and the phonogram, and (depending on the contract) they look for opportunities to synchronize them or have a close relationship with the music publishers.

Music supervisor. The person in charge of finding what musical content is adapted to the creative piece in question.