Login Create Account. Paramore : Now Meaning. Tagged: No tags, suggest one. Dont try to take this from me, Dont try to take this from me, Na-ah-ah-ah-ah-ah-ah-ow. Feels like Im waking from the dead, And everyones been waiting on Submit Your Interpretation.
Your phone number:. Song name. Your interpretation. Email me when new interpretations are posted for Now. Your email address. Paramore Song Meanings. Skoobasteve24 on January 22, Link. General Comment This song is definitely about the aftermath of Zac and Josh's departure and the band going forward. I'm sure Zac and Josh's leaving heavily influenced the writing of this new album. I'm excited to hear it. Sunny on January 25, Link. General Comment you would think that the departure of the brothers is what this song is about but Hayley specifically said in an interview that she was tired of writing about band issues and that she was ready to move past all that and do something different youtube.
General Comment To me, this song is about peace. Whenever I hear the chorus "If there's a future we want it now" It sounds like a plea for peace- a better future for everyone.
Especially with the music video, which influenced my opinion a lot. They start offff fighting but realize that the better ending is a peaceful one, hence the hug. My Interpretation I think that the people Paramore are fighting are the media and all the negative attention that is being given from the departure of the two brothers and Hayley is singing about how she wants peace.
The line "If there's a future we want it now" is getting across how Paramore want to be recognised to still be that kick ass band they always were and they don't want to fight the media.
The line "There's a time and a place to die. This ain't it. When they finally hug the person who started the fight, let's call that the media that is symbolising Hayley is opening up and telling everybody what the band thinks about the critics responses. Then they go on to say that they aren't over and that they will still keep going with line like "Bringing my sinking ship back to the shore.
But that is just MY interpretation. This is going to be a really fascinating conversation. But the thing that kicked it off for me is that Olivia Rodrigo released an album called Sour. It is very good. The album and the subsequent singles from the album have been followed by a wave of authorship controversies. Most famously, she just added a writer credit for the band Paramore on one of the songs after some online controversy.
It occurred to me that this is a pattern that has been building in the music industry. There are also specific court cases and decisions that have come down that end up affecting Olivia Rodrigo.
Before we get into any of that conversation, I think we need to share some definitions. So help me explain to the audience a few words. Tell people what sampling is. Sampling is when you directly take a piece of the recorded material and you recontextualize it in a new song. It is the basis on which much of hip hop is built, and all contemporary music at this point.
Interpolation is important because I think it gets to two other essential definitions, which are around publishing rights and master rights. When you record a song there are actually two different copyrights. Then you have the copyright for the song composition, often called the publishing. Each one has a different license and a different payment scheme. So just to put this in context of another music industry controversy, Taylor Swift famously does not own the masters to a number of her songs , but she owns the publishing.
She owns her publishing and she might share it with other songwriters who participated in songwriting sessions on individual songs. In a lot of cases the new recordings sound better. I think her hope is that people start streaming and using the rerecorded version so she starts collecting royalties off of those master recordings. Depending on which of the two copyrights you own, your chances to make money change pretty dramatically.
You can sort of boil it down to three main revenue sources. There are many, but the main three are: streaming, which is the main revenue source at this point, it has exceeded all other music revenues. In streaming, the vast majority of the royalty is for the master recording, so you want to own the actual recording itself. The next meaningful chunk of recording revenues is in performance royalties.
Performance royalties equate to publishing. The biggest portion of that would probably be for radio. That is a split between both the master and the publishing. But, in general, if you look at overall music revenues, the master right is where the biggest chunk of the money is.
But those rate structures are totally different. The songwriters get paid. If you, as the recording artist, also have a songwriting credit, then you get paid, yes. In streaming it works totally different, more than 80 percent of the royalty payouts go to the master recording, whereas the publishing royalties are usually hovering around 12 to 13 percent. These are business structures and they have huge consequences for how music is made, who is getting paid, even how songs are structured and how they sound.
I just wanted to start there. I think it helps explain a lot of things. Well, Olivia Rodrigo made a great album full of extremely catchy songs with really great narratives. There are a lot of different genres that appeal to people from different generations. As it has done better and better, as the album has rolled out more singles and those songs have succeeded at radio and streaming, people on the internet start to notice some similarities with her influences.
Connections to Taylor Swift songs, connections to Paramore songs, connections to songs by Elvis Costello. The chatter on the internet then turns into actually handing over songwriting credit to a number of these artists. Yeah, I have a list here. This is probably because of the internet activity.
Then that public campaign turns into actually, supposedly they were in touch beforehand. You never know really. Dancing among the wreckage of Western civilization. This is how rock and roll works.
Subscribe here! So when a court listens to a song currently, they apply a two-part test to determine whether or not something is borrowing, if you will. So I think we should do the same. Also, just the gut check; does this feel alike? I think it would be very hard to say that that even meets the intrinsic test. Neither of these things are particularly wholly original outside of the lyric. The actual musical component of yelling in that kind of way feels like yeah, anybody can do that. Nothing about that to me says these are the same song except they have a referential quality to each other.
People went on TikTok, they started doing mashups. They use the exact same chord progression. They are not quite in the same genre, as you pointed out, the guitar tones are pretty different and they obviously have different melodies. This has a lot to do with what you were saying at the beginning of the episode, which is major shifts in the music industry.
And so any legacy song benefits from getting a songwriting credit on a song which is doing extremely well at US radio. This song is doing well. We see this over and over and over again. When you say interpolation credit, is that a different payment structure than a standard writing credit? Is it a lower percentage? How does that work? All credits are going to be negotiated privately unless decided by a court. Typically, an interpolation credit is a lesser songwriting credit than an actual songwriting credit.
An interpolation credit for me does not feel like a co-writer of the song, and oftentime is the way that people write bad headlines around this.
It feels much more like a nod to me than like, you are equal co-writers, even if the deal negotiated requires a 50 percent cut. The music business used to be about physical media and distribution. And then the vinyl records will be trucked all over the country and sold to people.
That obviously moved to cassettes, to CDs, but at the end of the day, what you were selling was physical products, and the song and the physical product were inextricably tied together. We have seen a shift where the music industry has gone from being a physical goods business to an intellectual property business.
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