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Radiohead sue Lana del Rey for plagiarising Creep

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That's the news of two days ago and it in no way refutes LDR's claims.

 

Both parties (and bear in mind "Radiohead" are still cravenly speaking only through lawyers) are using different wording to say the same thing in a way that favors their position, as people do in these situations.

 

If we are to believe Radiohead's lawyers (which I personally find much harder than believing a direct tweet from Lana, but let's say they are telling the truth, since she didn't issue any further public rebuttals) an ongoing legal threat of potentially imminent lawsuit has been hanging over LDR since Radiohead's lawyers began to bother her in August 2017 (shortly after the release of Get Free as the final song on Lust for Life album on July 21, 2017).

 

That is actually in line with Lana's own claim that "their lawyers have been relentless." Let's say, no lawsuit has... yet... been filed, but LDR receives notices that are worded to sound (to anyone but a legal professional, and perhaps even to some legal professionals) like a lawsuit is about to be filed if she does not agree to settle immediately for 100% of her profits.

 

Technically, Radiohead's band members never demanded 100% or nothing. They (probably Thom) just hired lawyers to word things in such a way that the recipient would believe their only option to avoid a lawsuit was by giving 100%.

 

Note that Lana's most substantive claim- that she offered 40% and was refused- has not been denied by Radiohead's lawyers, so even anyone inclined to think Lana is a liar must now acknowledge she was telling the truth. Furthermore, note also that the fans with illusions about Radiohead not being personally behind the lawsuit, or fans who can acknowledge Radiohead being behind the lawsuit but could not believe they were demanding an even more excessive figure than 40%, these fans have also now been proven wrong, since the band members have chosen to make no comment other than through their lawyers, who have not denied seeking well above 40% of Lana's profits, on a song whose questionable similarities to Creep are also now being claimed as self-evident truths by Radiohead's lawyers.

 

Then, last weekend, Lana received a more direct threat than these months of legal threats (although she did not say this, and it is my interpretation of the situation) from a story in The Sun which Radiohead (aka, Thom) likely paid to plant in The Sun. That story uses ridiculously overwrought tabloid wording to convey a sense of urgency to the situation, as if it's Lana's final chance to avoid a lawsuit. Radiohead's lawyers then, officially, and publicly, act as the "good cop" by denying those "rumors" their own camp placed in The Sun.

 

According to plan, Lana is supposed to be terrified, confused and silenced, quickly giving Radiohead all her money just to avert the lawsuit. But Radiohead didn't understand how social media can help in situations where a powerful industry figure with the ability to control the press is lying and manipulating less powerful people. She went on twitter and spilled the tea on what they were really doing and saying to her.

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ps. Why do I think Thom Yorke would pay The Sun to print stories? That's admittedly an outlandish-seeming claim, which Lana never even said, but it is in line with Thom's alleged history of paying The Sun in particular, to prevent publication of stories about his personal infidelities in recent years, and also to plant less substantive, positive stories glorifying Thom

and his current relationship, which would not otherwise meet the standards to be published in a Murdoch rag like The Sun, given Thom's only-minor celebrity status and (pseudo) leftist views.

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And all those tabloid payoffs get expensive, which may be why they need to steal Lana's song profits in the first place, and play in Israel, and release $130 Professor Harold Hill style deluxe editions they never bother to send to many of the people who purchased OKNOTOK.

 

Actually some people received editions without the cassette, or didn't get anything at all, and Radiohead's company has been ignoring their emails and calls for months, and never offering refunds. Iirc, some people on Mortigi experienced this.

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Good? It's a masterpiece. I really didn't like it the first time I listened to it, mostly due to certain lyrics. Mish Way from White Lung wrote a great essay on Lana and how the complexity of her lyrics is overlooked. http://www.talkhouse.com/mish-way-white-lung-talks-lana-del-reys-ultraviolence/

 

Lana's bad-taste lyrics are truly on point and punk in a way indie and alt rock never dares to be now. But at the same time imo Lana overcame all the limitations of punk and alt rock to express a sense of agency and freedom that owes more to the '60s-70s counterculture and '50s beats. She's created a synthesis of everything that was good about hippies and everything that was good about punks, leaving out all the things that weren't good about either one.

 

Get Free is part of this with its rewriting of Neil Young's lyrics, from black to blue. I wonder if that's what Thom really took offense to.

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Good? It's a masterpiece. I really didn't like it the first time I listened to it, mostly due to certain lyrics. Mish Way from White Lung wrote a great essay on Lana and how the complexity of her lyrics is overlooked. http://www.talkhouse.com/mish-way-white-lung-talks-lana-del-reys-ultraviolence/

 

Lana's bad-taste lyrics are truly on point and punk in a way indie and alt rock never dares to be now. But at the same time imo Lana overcame all the limitations of punk and alt rock to express a sense of agency and freedom that owes more to the '60s-70s counterculture and '50s beats. She's created a synthesis of everything that was good about hippies and everything that was good about punks, leaving out all the things that weren't good about either one.

 

Get Free is part of this with its rewriting of Neil Young's lyrics, from black to blue. I wonder if that's what Thom really took offense to.

 

 

They're just embarrassing Lana.  

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