Singer Lyubov Uspenskaya may face legal action over the performance of the song Polyushku during a Channel One broadcast marking the New Year’s festive lights. The information comes from a major Russian news outlet, which cites Natalya Lapina as the author of both the lyrics and the melody of the composition. The case centers on whether proper permissions and royalties were secured for the rendition featured during the program.
Lapina states that she did not authorize Uspenskaya to perform Polyushku in the New Year’s broadcast. She contends that her work has been used without consent and that copyright protections were ignored in this instance. The songwriter has indicated that her legal team is preparing to pursue claims for copyright infringement against the artist and the television channel involved in the airing. The situation highlights ongoing tensions between performers and rights holders in situations where broadcast programs seek familiar tunes to enhance viewership.
According to Lapina, Uspenskaya has performed Polyushku at numerous live events and concerts over several years, yet the creator has not received royalties or licensing fees for these performances. The songwriter emphasizes that proper compensation was not provided and that the absence of payment constitutes a violation of the rights tied to the composition. The dispute underscores the importance of clear licensing practices in the music industry, especially in large televised events that attract broad audiences.
Lapina notes that the channel’s broadcast included an on-screen credit that identified the author of the composition, yet questions remain about the scope of usage and the corresponding payments. She explains that the song’s copyright status is complex, and recent performances by other artists were conducted under different licensing arrangements that included royalties. The remarks suggest that those arrangements may have served as a benchmark for how Polyushku could be legally performed by others with proper compensation.
The legal friction traces back to a public dispute in 2021 concerning the song’s rights holder network. Lapina says she has known Uspenskaya for a long time and that she originally granted permission for the work to be dedicated to a family member, a gesture that added a personal dimension to the collaboration. This context is cited to illustrate the sensitive nature of rights agreements that can accompany personal connections within the music world.
Observers note that copyright enforcement in the music industry often involves nuanced factors such as licensing scopes, performance rights organizations, and cross-border considerations when broadcasts reach a national audience. In this case, the parties may need to clarify whether a license for Polyushku covered the particular broadcast format and whether public performance rights were properly secured for that specific event. The outcome could set a precedent for similar disputes involving well-known artists and popular songs used in televised holiday programming.
Meanwhile, broader discussions continue about how rights claims are managed when a program seeks to balance audience appeal with fair compensation for creators. Legal experts often stress the importance of transparent licensing processes, timely reporting of performances, and precise royalty calculations to avoid future conflicts. The situation involving Polyushku illustrates how even familiar and beloved tunes can become focal points for legal clarification in today’s broadcast environment.”