A music critic, known for his sharp take on pop music, discussed the ongoing music rights dispute involving Nargiz Zakirova and the track Fly during a recent broadcast. He asserted that Nargiz Zakirova does not hold the legal right to sell the song, not because of taste or popularity but due to who actually owns the composition. The critic emphasized that the copyright for Fly rests with Maxim Fadeev, and that the producer has the authority to determine who may perform or distribute the piece. Fadeev, according to the critic, could even authorize or veto performances by unfamiliar singers, suggesting that Zakirova might face significant constraints if Fadeev decides the song does not fit her voice or public image. The commentary reflected a belief that the ownership structure of the work makes certain performances off-limits regardless of the performer’s intent. News
Further commentary from the same showman touched on Vera Brezhneva, another prominent figure who has released her own Russian songs for sale. He argued that Brezhneva would encounter the same issues if she attempted to commercialize Fly, implying that the market would be uninterested or unreceptive. The critic warned that traces of Nargiz and Brezhneva might be considered passé in the rapidly changing music scene, and he labeled the idea of selling certain tracks as impractical. In his view, attempting to push music that lacks strong audience demand could lead to weak sales, and as a result, the plan might be abandoned before it even begins. News
Earlier reporting noted that Nargiz Zakirova placed her version of the composition on an online marketplace, effectively putting a portion of the work up for sale. The track Fly was made available for purchase, with a segment of the composition priced at an amount reported by Muznavigator. While the listing drew attention, the episode underscored the tension between an artist’s dream of monetizing an arrangement and the legal rights that govern who may authorize such sales. The situation was described as part of a broader conversation about how rights holders manage licensing and distribution across digital platforms. News
In a related thread, it was also reported that Vera Brezhneva considered monetizing certain material associated with her projects, including a film-related hit. The discussions around Brezhneva’s business moves highlighted how artists navigate existing contracts, potential licensing deals, and public expectations when they pursue additional revenue streams tied to their catalog. The dialogue illustrated the broader reality of the music and entertainment industry, where copyright ownership, performer eligibility, and market demand intersect in complex ways. News