You're really clicking tonight, you gorgeous preppy.
So nice to see the blog up and running again. And if I may say so, you're all looking well.
A question for the assembled luminaries that make up this fine establishment: If I, in the course of writing a song, manage to pen a melody which, in one particular bar, differs in no way from a bar of a melody in a Belle and Sebastien song, under what conditions can I get away with it? Did I mention that this bar (in my song) constitutes a large part of the chorus? When does (unconscious or conscious?) tribute become plagiarism? Unfortunately, we can no longer ask George Harrison.
Also:
If this "massive meet up" ever does take place, I wanna be there. Do you think anyone responded to this guy? What would you say? I want to join your army?
posted by robogal @ 12:19 AM
2 comments
2 Comments:
Gooblar, I've yet to hear a song of yours where you haven't stolen something, so what are you worried about :)
Seriously though, we all steal a little bit when we create something (or in my case, it's an homage). Your gut should tell you when you draw the line.
Does it become an issue of canonicity? Is it wrong to lift from B&S because they're well known -- but what if the melody precedes B&S and was hummed for the first time by a balladeer in 16th century Ireland? Since this kind of thinking gets silly, I would go by length and similarity -- how long does the melody follow its predecessor and is it exactly the same? One bar sounds well within the bounds of tact. And in the end, you can always cite B&S Chicago Style in your liner notes if you're anxious.
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