Using Song Lyrics as a Character's Speech

The Bloated One

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Not sure if this has been discussed before. Surprised if not.

I have a character, an android to be exact who has been programmed to spout wisdom in the form of song lyrics, e.g.

'You would think with all the genius and the brilliance of these times, we might find a higher purpose and a better use of mind.' - Jackson Browne, Say It Isn't True.

My question is, can I use quotes, throughout the book, providing I footnote them?

TBO
 
Only if you want to pay a lot of money to the companies which own the copyright...

Quoting literary works such as books, plays, poems, is fine if you're only using a line or two (though even then, I think it's only courteous to ask permission if the work is in copyright) but as I understand it musical works are very different, and even a few words, if recogniseable and used deliberately as a quote, need permission and that's only granted by the big names on payment of a fee, plus confirmation of their help in the acknowledgments section of the book.
 
Judge, what about words from lectures, advertising billboards, or anything else we see or hear in media? Are song lyrics and books the most problematic?
 
I've not researched those things especially, but I think they'd be OK, as long as you only quoted small amounts and, for the lectures especially, gave the full references somewhere. As far as I'm aware, it's music which is the real problem.
 
My former instructor in college wrote a short story where a woman only spoke in Elvis lyrics.

Short Story Collection: Our Former Lives in Art
"Blue Moon" is the story.

I have no idea what the "quota" is, or how that all worked, but there you have it.
 
Here's my general observations, as a reader, about specific references to popular music in fiction:
1) If I recognize the title/artist/composer, I will
a) Enjoy the reference because I like the tune.
b) Be annoyed by the reference because I hate the tune.

2) Be annoyed because the reference means nothing to me. Because:
a) It comes from a genre outside my milieu.
b) It refers to an era outside my milieu.

I submit that an author aspiring to write a timeless classic might avoid referring to time-sensative pop culture.
 
You could create your own lyrics. You could even write entire songs, picking out the pearls of wisdom for your robot to spout. Same effect, doesn't get dated, but it will be more work, but maybe more rewarding.
 
You definitely can't use actual lyrics, except with permission. It is worth asking for permission though, it can be seen as okay. You have to declare at the front of the book that the lyrics are used 'With Permission'.

Note that permission cannot usually be granted by the composer, as rights are generally held by the recording company. Who will charge big bucks.

The legal relationship between artist and distributor is very different in music from book publishing.
 
Note that permission cannot usually be granted by the composer, as rights are generally held by the recording company. Who will charge big bucks.

The legal relationship between artist and distributor is very different in music from book publishing.

Publishing company. The record company handles the mechanical rights. All right, some big record companies have their own publishing departments, but lots of artists prefer independents, and quite a few keep the rights and do their own paperwork (which is a lot of hours for not all that much money; could it possibly be that they don't trust the 'suits'?) Elvis was published by one Freddy Blenstock (no, me neither; I looked it up) and had one third of the publishing company. And if you know the musician well, he can nearly always persuade the publisher (editor, in my legalise) to allow a few words (it's not how many words that count, it's recognition of the number. Which is what you're looking for, so sneaking round the copyright does you no good at all) as long as you cite the source; but you'd have to know as many musician as I do to do a retrospective of the sixties.
 
Christian,

I like your idea. Rather than 'copy' someone's lyrics, I could change, or write similar ones to suit my purpose. I have it nicely set up and it would be a waste of both humour and plot to get rid of it altogether.

For example;

“Good morning, Dave. I come with the compliments of Jules. I am here to help. May I come in?” she said, with the same amiable, but now mildly irritating US mid west accent he had heard in the shower, and in the diner.

“My name is Tarquin not Dave.”

“Sorry Tarquin,” said the metallic female. She sashayed into the room, turned on her spiked heels and stood in front of him. Instead of eyes she had a blue horizontal slit that ran across the front of her face. For ears, she had two four inch vertical antennas. Her skin, for want of a better word, was iridescent, a bluish chrome. Despite having lumps, bumps and curves in all the right places, she was a machine.

“If Mr. Tarquin would care to sit down, I will run through today’s events.”

Tarquin sat on the end of his bed and listened attentively. The more she spoke, the more her voice, a turgid, sibilating whine, hammered inside his head like a woodpecker on steroids. Finally, Tarquin stopped her in mid flow. He rushed to his knapsack, rummaged through its contents and pulled out his iPod.

“Can you sample voices?”

“Of course! I am a Sorayama 27200,” she said, proudly.

“If I give you this, can you sample the female voice and put it into whatever your voice thingy is?” asked Tarquin, passing her his iPod.

“I have only ever seen these in a museum, but yes, though I already have a catalogue of different voices you can choose from?” She gave him a remote control. He looked at the smooth egg shaped metal full of silver pins.

“Thanks for the offer,” said Tarquin, handing back the remote, “but the voice on these music videos will be fine.”

“Would you like me to download all her music videos from our extensive historical library here in the Centre? I can replicate her movement?”

Tarquin thought for a moment and smiled.
“Great idea, copy everything!” To Tarquin's amazement, she swallowed the iPod. Seconds later, she opened a flap in her stomach and took it out.

“Do you wish me to speak with this voice?” she said, passing it back to Tarquin.

“Oh yes! Absolutely,” he said, grinning.

“I can adjust my persona to match it.”

“Really? How do you do that?” said Tarquin.

“I analyzed her movement, expressions, and intonations from her historical data. With your help I map out my new persona.”

“Cool!”


All nicely set up for this;

“Tarquin! Don’t look at the— “ shouted Rhia, peeking out from her bag. It was too late.

“Baaaaaaang!”

Tarquin sat up sharply, breakfast running down his face.

“Iz Big Banga Breakfast no? Ha, ha, ha,” cackled the waitress, before turning and waddling toward the kitchen doors, her vast rump gyrating like a sack full of amorous rabbits. Suddenly, Damonna let out a terrifying howl and leapt after her, beating the waitress to the diner’s kitchen doors. She grabbed a pencil from the Shagganat’s 1950’s replica uniform and pointed it menacingly at her.

“Strike the pose!” she commanded, lunging forward and sinking the pencil tip into the waitress’s bulbous, purple nose. The waitress cried out, and with flailing arms lumbered after her, but Damonna was quicker.

“Like a virgin. . .” sang Damonna, ducking artfully under a bear like swat. Adroitly she slipped behind the waitress and whispered into her shell of an ear, “Plucked. . .” Then, Damonna rammed a fork into her expansive rear, “For the very first time!” The waitress howled, more from embarrassment than pain. Then the waitress spun round trying to catch Damonna. Her rage was useless, as Damonna danced, sang and circled around her, poking, prodding and sticking her at will with the fork, accompanied by cheers and olé’s from the diner’s customers. The exhausted Shagganat waitress eventually gave up and with roars from the diner’s customers ringing in her ears, she stumbled toward the safety of the kitchen doors.

“I don’t think I’ll have the Big Bang Breakfast again,” said Tarquin, looking scornfully at the menu while removing wads of breakfast sludge from his curly hair.


TBO
 
Note that permission cannot usually be granted by the composer, as rights are generally held by the recording company. Who will charge big bucks.

The legal relationship between artist and distributor is very different in music from book publishing.

You're telling me!

My reply was a snapshot of a fiendishly complex situation.
 

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