Originally Posted by Fdemetrio
I guess to the desperate Nashville writer, its worth it to try anything to give him an edge. If the publisher says no, well you werent going anywhere anyway.

I always wondered what is the worst that could happen if getting sued for plagerism? Nobody knew you, now they do. You made more money because people are now listening because of the suit. Your name gets out there.

If Im writing a song, and it sounds an awful lot like Travis Tritt, it either A, sits doing nothing. or B, becomes a hit, I get sued, but still get half the money it makes. Not a bad deal. Its a twisted way of looking at it, but its the truth.

Steal somebody elses hit, and you become a hit songwriter too.

Looking at it like that, it shows that you could steal something 90%, and still not do anything with it, cause you dont have a way to make it a hit. Think of that one... you HAVE a hit song, you already know its a hit minus a few lines or beats here and there, and you still cant get it out there.

And if these publishers were so sharp, why is their a plagerism suit every week now?


50%? If you lose a lawsuit (i.e. use someone's work without permission) if you are sharp you negotiate a cut for everyone. BUT if you rip off the wrong people, as in the case of Bittersweet Symphony, the Rolling Stones get 100% of not just your song earnings, but also ALL your income streams ever made from day one including touring, videos etc. They got hammered HARD because they messed with the wrong group and lawyer. In the case of Harold Payne when Snoop Dogg stole his song (along with his cowriters) they played nice, got paid, got credit, created good will and continued career success. Smart pro's just strike a deal, avoid court and move on. Don't mess with the Stones or Don Henley, both 100% litigious.

Brian Austin Whitney
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Just Plain Folks
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