August 13, 2023 • 16 mins
Art Simone may have lost Drag Race Downunder, but can she win in Judge Gina’s courtroom? Art has brought her best good judy and Drag Race Downunder co-star Etcetera Etcetera to Judge Gina to a settle a dispute over their song None of This Will Matter. Art claims there is an uneven spotlight, Etcetera Etcetera does not agree. Only Judge Gina can decide.
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Episode Transcript
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Speaker 1 (00:00):
You are now entering the court of Judge Gina Leano.
Speaker 2 (00:16):
We all have grievances and disagreements with the people in
our lives, some big, some small, and some unresolvable. When
you need an argument settled once and for all, you
come to my courtroom. I am Judge Gina, and what
I say goes. You better be ready to hear my ruling.
Speaker 1 (00:36):
Today, two queens, one song and an uneven spotlight Art
Simone has brought etcetera, etcetera to the Court of Judge
Gina to settle a dispute over their song. None of
this will matter. Art Simone is seeking one thousand dollars
in compensation for lost royalties and emotional damage.
Speaker 3 (01:00):
Hello, my name is Art Simone. You know me from
being an ultra famous drag queen from Australia. I've come
to Judge Gina to settle an issue I have with
my lightest single that's out with etcetera, etcetera.
Speaker 4 (01:12):
My name is etcetera, etcetera. I am on Season one
of RuPaul's Drag Race down Under. I've come to Judge
Gina today. This settles and beef with my sister Art Simone.
We're on television together. We have toured together and we're
basically besties. She's claiming that I cut her out of
our new song when I didn't do anything of the sort.
Speaker 3 (01:31):
I'm going to win. I don't lose things except for
drag race, but I'm going to win this. This for you. Mums.
Speaker 1 (01:42):
Court is now in session. Please rise the judge Gina.
Speaker 2 (01:50):
Art Simone, Why are you in my courtroom today.
Speaker 3 (01:53):
I've got a new single that's out at the moment
called none of This Will Matter with my good drag friend,
et cetera, et cetera. The songs come out and she
has got more lyrics in the song than I do,
and that doesn't make me feel very good. First of all.
Second of all, when we're performing the song live, I
look like an idiot because she's singing the whole bridge
and I just sidesap like this, which is really embarrassing
(02:16):
in front of all my amazing fans. And thirdly, it's
just not fair.
Speaker 2 (02:21):
You were both together when you recorded.
Speaker 3 (02:23):
Yeah, we were both together when we wrote the song
and recorded it. We're in the same room, we're saying
the same amount of lyrics, and then comes out I'm
not in there as much.
Speaker 2 (02:32):
Right, and who made that decision.
Speaker 3 (02:34):
Well, that's the thing I don't know, because you know,
we recorded it in Sydney and et cetera is from Sydney.
So I don't know if she's gone behind my back
and messaged the producer and said, by the way she
sounds a bit shit, cut her out, or whether you
know she just wanted to be the biggest star you know.
Speaker 2 (02:48):
So have you made any inquiries?
Speaker 3 (02:50):
Yeah? Well I asked her and she just said I
don't know, which I think is a lie.
Speaker 2 (02:54):
Okay, Why do you think that's a lie.
Speaker 3 (02:55):
Because she's a drag queen and they lie. Okay, have
you met her? Look at her face?
Speaker 2 (02:59):
No, haven't matter her. I will meet her shortly. Okay.
So you've recorded this song together, Yes, you've written it
together equal amount of lyrics. However, when it's published, you're
appearing in it less or your voice is less lyrics.
You then go on tour and you notice how you
(03:20):
don't have the opportunity to contribute to this song quite
as much when you're on stage. Has that the problem?
Speaker 3 (03:25):
How can you call it a duo when it's more
of a you know, seventy five percent one hundred and
twenty five percent. On the other side, that's two hundred percent.
Speaker 2 (03:33):
Okay, well, let's work on one hundred percent.
Speaker 3 (03:35):
What is it?
Speaker 2 (03:35):
What's the braak?
Speaker 3 (03:36):
You know, I'm not really good at mass, but I
reckon I've probably.
Speaker 2 (03:38):
Got like, well, you sang half and half, so we'll.
Speaker 3 (03:41):
Go forty sixty Okay, yeah.
Speaker 2 (03:43):
All right? So etcetera is singing sixty percent, you're singing
forty percent.
Speaker 3 (03:47):
I can like a loser.
Speaker 2 (03:48):
I'm sure you're not.
Speaker 3 (03:49):
I don't know, I'm sure it happened. Just sing it, babe.
Speaker 2 (03:53):
I want to hear from et cetera, et cetera to
see what her version is. What is your response to
Art's allegation.
Speaker 4 (04:00):
I was worried I was going to hurt Art's feelings
if I told her the truth, which is the fact
that she is on the song just as much as me.
Her voice is just of a lower, more masculine frequency,
so it blends in with the drums and guitar, and
my beautiful angelic chorus rises above the instrumentation.
Speaker 3 (04:17):
Do you mean shrill?
Speaker 4 (04:19):
Excuse me? Are you being spoken to? I'm just saying
that my voice cuts through like a hot knife through butter.
Speaker 2 (04:24):
So you think that there's equal distribution of your voices,
just that it's coming across differently because of the tone.
Speaker 4 (04:33):
I'm no scientist, but I think it has something to
do with the audio frequency that is recorded on the track.
Speaker 2 (04:39):
Okay, so let me ask you this, Yes, how does
that work when you are performing the track live and
we have got Art telling us that she is standing
there side tapping? Who sings that part of the song
where she's side tapping?
Speaker 4 (04:56):
This is the other problem than my beef that I
wanted to bring up. Art likes to claim she doesn't
have as many words because she can't remember them. She
doesn't have the memory to remember the words. So to
conceal the fact she doesn't know her own lyrics, she
just doesn't sing them.
Speaker 2 (05:09):
She just side taps and who sings? Is there just
a pause in the song?
Speaker 4 (05:13):
I have to sing it because she can't remember the words,
and if no one's saying it would just go silent, then
we'd both be side tapping.
Speaker 2 (05:18):
Okay, so let's go back to the recording. Yeah, there's
no side tapping in the recording. It's your voice, it
is my voice, that's true. So did you record that together?
And was this side tapping while you were recording. Is
that why there's a difference in there.
Speaker 4 (05:32):
It was a bit of side tapping. Actually, it was
a bit of space in the recording studio and we,
you know, as a kids, like say, we bust it
down a little bit, We shook it round. We had
a good time.
Speaker 3 (05:41):
I'd say that I wasn't recording the same amount of
lyrics as you. We recorded every single line together. We're
not together, but we both all did every single line.
Speaker 4 (05:48):
Yeah, and they're in the song, they're in the recording,
but when we sing it live, you just don't know
the words.
Speaker 3 (05:52):
I think she's jumping around first, she's too shrill to
be in this song. You know, she just cuts through
like a hot knife through butter. And now apparently.
Speaker 2 (06:00):
Okay, I'm going to stop you there. So I think
I need to hear this song.
Speaker 4 (06:08):
And the grass is always green side.
Speaker 2 (06:18):
Well, that's all sounded like you.
Speaker 3 (06:22):
That was actually etcetera. I was in that. That was
et cetera. And I I just had the thing where
it goes pushing daisies, that's all I said.
Speaker 2 (06:28):
That's all you said, Why do you recall when you
recorded it? Saying more than that?
Speaker 3 (06:33):
I recorded all the lines.
Speaker 2 (06:34):
What, so what lines are missing?
Speaker 3 (06:36):
You meant to be singing together? Okay, singing the words
all of it, Yeah.
Speaker 2 (06:39):
The whole thing. Yeah, and so et cetera, saying that
you did. But because your voice is what is it monotone?
Speaker 4 (06:45):
I would say, a flat monotone colorless.
Speaker 2 (06:51):
H Well, okay, that's probably enough if you want to
stay friends today. And so so you think that the
voice is there, but no one can hear it.
Speaker 4 (07:00):
So what you're saying, Yeah, like whales communicate over long
stretches of ocean subsonically, they go to go oh, and
they can hear each other. Fine, maybe art just needs
to find people in the same range of sound as her.
Speaker 2 (07:14):
So Art, can you sing that for me? What you're
meant to be singing?
Speaker 3 (07:18):
Things are never but the same when you six feet
and they say the grass is always greener on the
other side.
Speaker 2 (07:26):
Okay, et cetera. Can you sing your version please?
Speaker 4 (07:30):
Things are never the same when you're six feet and
they say the grass is oh, where's green on the
other side?
Speaker 2 (07:39):
Okay. So what I've just listened to is that actually
the recording that's been published.
Speaker 3 (07:44):
Yeah, that is the recording that is the bridge from
the song.
Speaker 2 (07:47):
And you think you can't hear yourself in that.
Speaker 3 (07:49):
No, I wasn't in that. I had two words pushing
daisy something.
Speaker 4 (07:52):
But it's not all the song. And I actually I
have an audio recording from the song, and I have
the chorus where you have quite a large amount of
not only creative control, but vocal presence. If you would
like to call it that. If we can roll that up,
I'd love jenety hear it, and maybe we can be
a bit more honest. I'll hear that about what's going on?
Speaker 2 (08:11):
Thank you? So who's saying when the music stops?
Speaker 3 (08:41):
Oh, that is me? But I just want to say,
that's not singing. That was speaking.
Speaker 2 (08:45):
Okay. So is that the equivalent of you speaking in
that track or are you missing parts?
Speaker 4 (08:50):
No?
Speaker 2 (08:51):
I was speaking that yeah, okay, So that might explain
why etcetera. Saying that that you're actually singing in the
other parts of the track but we can't hear you,
but we can actually hear you when you talk.
Speaker 3 (09:00):
Yeah, but I'm singing in the other bits too, okay. Yeah,
so I speak then sing them speak.
Speaker 2 (09:05):
Okay. So what do you want from me? What do
you want me to do about?
Speaker 4 (09:08):
Well?
Speaker 3 (09:09):
You know, we can't re record the song. It's already
out there, unfortunately. So I'm thinking I need like a
thousand bucks.
Speaker 2 (09:16):
Okay, I would be very curious to know how you've
come up with this amount of one thousand dollars.
Speaker 3 (09:23):
Well, one thousand dollars is just looks nice as a number.
But also, you know, if I'm talking about actual breakdowns,
because I am really good at maths.
Speaker 2 (09:31):
I reckon you are good at maths or you're not.
Speaker 3 (09:33):
Well, I've decided I am.
Speaker 2 (09:34):
Now you are. Okay, when there's a dollar sign.
Speaker 3 (09:36):
There's a dollar sign, business brain hits in, you know,
self employed drag queen here. You just got to do
what you've got to do, okay, So a thousand bucks
all right? So I'm thinking two hundred and fifty bucks
is for you know, emotional trauma and embarrassment, right because
you know that's just oh well, it's.
Speaker 2 (09:52):
A cheap deal.
Speaker 3 (09:53):
It's pretty good.
Speaker 2 (09:54):
Yeah.
Speaker 3 (09:54):
Yeah, I've been embarrassed over a lot more.
Speaker 2 (09:56):
I reckon I could afford to embarrass you a few
times today. Then it's two hundred and fifty dollars a hitch.
Speaker 3 (10:04):
The other seven hundred and fifty dollars is my payment
back for not being in the song fifty to fifty?
Speaker 2 (10:10):
Are you trying to get me to apportion your royalties differently?
Is that what you're asking for?
Speaker 3 (10:15):
Yeah? So I wanted the royalties to be different, but
I don't want to take more than seven hundred and
fifty dollars because I think that's fine.
Speaker 2 (10:21):
Okay, So break that down for me.
Speaker 3 (10:23):
Okay, So singles are a dollar twenty nine, yes, okay,
So I want to have sixty percent of that dollar
twenty nine.
Speaker 2 (10:30):
Sixty percent, okay, And you think how many albums will sell?
Speaker 3 (10:34):
I reckon seven to fifty, seven hundred and fifty albums. Yeah,
I think it's going to be really good.
Speaker 2 (10:38):
One right, seven really good? That's really good?
Speaker 3 (10:40):
Is it like twenty? So I think they're really.
Speaker 2 (10:43):
Seven hundred and fifty times one dollar twenty nine, and
so that's eight hundred and thirty dollars fifty.
Speaker 3 (10:48):
Which is close to one thousand. That's why I came
up with it.
Speaker 2 (10:51):
Yeah, it's nonsense.
Speaker 3 (10:52):
It's close to one thousand. You know, you round up,
you know when you get to like five.
Speaker 2 (10:55):
But why should you be paid more for doing less?
That's what I want to know. Why would you I
do want you to tell me what?
Speaker 3 (11:03):
Because I did the work in studio. I did the
work in studio, I did the recording, and.
Speaker 2 (11:06):
You've divided it fifty to fifty. But now you're saying
you do less and you side shuffle paid.
Speaker 3 (11:13):
More because she gets to have more of the limelight.
Speaker 2 (11:15):
No, I don't agree. How does that happen? You're still
up on stage?
Speaker 3 (11:19):
Oh excuse me.
Speaker 2 (11:20):
And et cetera. What do you say? What solution do
you see is fair?
Speaker 4 (11:25):
I want some compensation?
Speaker 2 (11:27):
Oh do you want compensation as well?
Speaker 3 (11:29):
It does.
Speaker 4 (11:31):
I'm telling you what, Art, I've got another beef as well.
Speaker 3 (11:33):
Are you? Are you opening a butcher? What's going on? Beef? Beef?
Beef beef?
Speaker 2 (11:37):
Okay? What's your compensation for? Well?
Speaker 4 (11:40):
When we recorded the music video, I wore a pair
of fishnet tights onto the set, and Art deliberately took
the horns on her wig and she ripped my fish
net tights and they cost seven dollars and ninety nine cents. Okay,
So I want that seven dollars and ninety nine cents reimbursed,
and then an additional one thousand, nine hundred and ninety
three dollars for the embarrassment of having to wear ripped
(12:01):
tights on the set of a music video. Although they
fit in with the aesthetic of a pop punk song,
I think it was embarrassing to not be perfect on
the day.
Speaker 3 (12:09):
Yeah, but can I say, can we roll back the
music video and see that you are not wearing any
rip fish nets in the music Now I.
Speaker 2 (12:14):
Just ask you, how do you quantify one nine hundred
and ninety three dollars?
Speaker 4 (12:18):
Because my embarrassment's worth a little bit more than arts,
because I'm not embarrassed as often.
Speaker 2 (12:22):
So saying her embarrassment's worth two hundred and fifty dollars,
you're saying your embarrassment's worth one nine hundred and ninety
three dollars. Well, you can say a million dollars if
you like. You have to persuade me. Why would I say? Yes?
Of course, you have to quantify it with loss, monetary
loss or compensation for trauma or injuries. So you've you've
(12:48):
quantified seven dollars ninety nine for your hosary.
Speaker 4 (12:51):
Yeah, Oh yeah it is and is hosary. I actually
wore the stockings today just so you can see.
Speaker 3 (12:55):
Ah, how long ago was the recording November last Yeah, okay.
Speaker 2 (13:01):
And have you worn those Hosary sins?
Speaker 4 (13:03):
Well? No, I just keep them in a drawer and
I bring them out for special occasions when I'm around
it and make it feel bad.
Speaker 2 (13:08):
And have you had an argument like this in the past.
Speaker 3 (13:10):
No, it's quite upsetting to me.
Speaker 4 (13:12):
I would say, Yeah, it's absolutely taken a toll on
my mental, physical, spiritual health. I would say that I'm
much further away from God than I'd like to be.
Speaker 2 (13:20):
What has taken a toll on your mental, physical, and
spiritual health? What has well?
Speaker 4 (13:25):
The fact that my good duty here isn't as close
to me is i'd like her to be. And the
fact that she's claiming that I didn't include her in
a project that meant a lot to us. She's never
brought this up to me. If she said, hey, I'd
love to sing some of your lines, then I would
have said, yeah, sure, we can share them around. I'm
not precious.
Speaker 3 (13:40):
Yeah, but we can't record the single. It's already out
there and being distributed across selling almost seven hundred and
fifty copies.
Speaker 4 (13:47):
Yeah, but you never brought it up when you heard
the song the first time. You only brought up when
we started performing it live.
Speaker 3 (13:51):
Because you're really hard to talk to you, and that's
why I had to bring it to Judge Gina.
Speaker 4 (13:54):
Well that you're really hard to talk to as well.
Speaker 2 (13:56):
Okay, I'm going to stop you both there. I've heard enough.
I'm going to deliberate now, I just need a moment.
Speaker 1 (14:05):
Judge Gina it is deliberating and will soon hand down
her verdict. Please do not leave the courtroom.
Speaker 2 (14:19):
Art Simone, and etcetera, etcetera. I've heard your evidence and
made my decision, et cetera, et cetera. Your counterclaim of
seven dollars ninety nine for ripped tights has been dismissed.
Art Simone. Your claim for eight hundred and thirty dollars
and fifty cents compensation has also been denied. Nothing further.
(14:40):
Thank you.
Speaker 4 (14:44):
You know, I was hoping to get my seven dollars
and ninety nine cents for my ripped tights, but that's okay.
What I'm going to do is just maybe steal a
pair of arts unripped tights and replace my with hers,
and then put my ripped tights in her suitcase, but
not tell her about it, and then I hope she
doesn't take me to judge Gina over that next time.
Speaker 3 (15:00):
I am feeling absolutely devastated about today's outcome. It is
just horrendous news to hear from my idol, Gina.
Speaker 4 (15:08):
I feel like my disagreement with Art Simone has been
settled once and for all, but I think that she'll
invent new ways to try to rise above me and
step on my creativity and my hope and happiness as
a human being.
Speaker 3 (15:19):
I do not feel like I've got a fair trial
at all. Gina was just so stuck up on all
of the little details. It was all about numbers, but
it was meant to be about me.
Speaker 4 (15:28):
I think my relationship with Art Simone are we fine?
I see tomorrow we are good.
Speaker 3 (15:32):
I think this has affected my relationship with et cetera.
But I'm a true professional and I'm used to working
with dogs, so I'm gonna keep working with her whether
I like it or not. But I'd never want to
see those shame stockings ever again. I do not feel
like our disagreement has been settled once and for all
at all. I'm still devastated, and I'm going to be
reminded of it every time I hear that song.
Speaker 1 (16:03):
This has been an iHeart Production,
You are now entering the court of Judge Gina Leano.
Speaker 2 (00:16):
We all have grievances and disagreements with the people in
our lives, some big, some small, and some unresolvable. When
you need an argument settled once and for all, you
come to my courtroom. I am Judge Gina, and what
I say goes. You better be ready to hear my ruling.
Speaker 1 (00:36):
Today, two queens, one song and an uneven spotlight Art
Simone has brought etcetera, etcetera to the Court of Judge
Gina to settle a dispute over their song. None of
this will matter. Art Simone is seeking one thousand dollars
in compensation for lost royalties and emotional damage.
Speaker 3 (01:00):
Hello, my name is Art Simone. You know me from
being an ultra famous drag queen from Australia. I've come
to Judge Gina to settle an issue I have with
my lightest single that's out with etcetera, etcetera.
Speaker 4 (01:12):
My name is etcetera, etcetera. I am on Season one
of RuPaul's Drag Race down Under. I've come to Judge
Gina today. This settles and beef with my sister Art Simone.
We're on television together. We have toured together and we're
basically besties. She's claiming that I cut her out of
our new song when I didn't do anything of the sort.
Speaker 3 (01:31):
I'm going to win. I don't lose things except for
drag race, but I'm going to win this. This for you. Mums.
Speaker 1 (01:42):
Court is now in session. Please rise the judge Gina.
Speaker 2 (01:50):
Art Simone, Why are you in my courtroom today.
Speaker 3 (01:53):
I've got a new single that's out at the moment
called none of This Will Matter with my good drag friend,
et cetera, et cetera. The songs come out and she
has got more lyrics in the song than I do,
and that doesn't make me feel very good. First of all.
Second of all, when we're performing the song live, I
look like an idiot because she's singing the whole bridge
and I just sidesap like this, which is really embarrassing
(02:16):
in front of all my amazing fans. And thirdly, it's
just not fair.
Speaker 2 (02:21):
You were both together when you recorded.
Speaker 3 (02:23):
Yeah, we were both together when we wrote the song
and recorded it. We're in the same room, we're saying
the same amount of lyrics, and then comes out I'm
not in there as much.
Speaker 2 (02:32):
Right, and who made that decision.
Speaker 3 (02:34):
Well, that's the thing I don't know, because you know,
we recorded it in Sydney and et cetera is from Sydney.
So I don't know if she's gone behind my back
and messaged the producer and said, by the way she
sounds a bit shit, cut her out, or whether you
know she just wanted to be the biggest star you know.
Speaker 2 (02:48):
So have you made any inquiries?
Speaker 3 (02:50):
Yeah? Well I asked her and she just said I
don't know, which I think is a lie.
Speaker 2 (02:54):
Okay, Why do you think that's a lie.
Speaker 3 (02:55):
Because she's a drag queen and they lie. Okay, have
you met her? Look at her face?
Speaker 2 (02:59):
No, haven't matter her. I will meet her shortly. Okay.
So you've recorded this song together, Yes, you've written it
together equal amount of lyrics. However, when it's published, you're
appearing in it less or your voice is less lyrics.
You then go on tour and you notice how you
(03:20):
don't have the opportunity to contribute to this song quite
as much when you're on stage. Has that the problem?
Speaker 3 (03:25):
How can you call it a duo when it's more
of a you know, seventy five percent one hundred and
twenty five percent. On the other side, that's two hundred percent.
Speaker 2 (03:33):
Okay, well, let's work on one hundred percent.
Speaker 3 (03:35):
What is it?
Speaker 2 (03:35):
What's the braak?
Speaker 3 (03:36):
You know, I'm not really good at mass, but I
reckon I've probably.
Speaker 2 (03:38):
Got like, well, you sang half and half, so we'll.
Speaker 3 (03:41):
Go forty sixty Okay, yeah.
Speaker 2 (03:43):
All right? So etcetera is singing sixty percent, you're singing
forty percent.
Speaker 3 (03:47):
I can like a loser.
Speaker 2 (03:48):
I'm sure you're not.
Speaker 3 (03:49):
I don't know, I'm sure it happened. Just sing it, babe.
Speaker 2 (03:53):
I want to hear from et cetera, et cetera to
see what her version is. What is your response to
Art's allegation.
Speaker 4 (04:00):
I was worried I was going to hurt Art's feelings
if I told her the truth, which is the fact
that she is on the song just as much as me.
Her voice is just of a lower, more masculine frequency,
so it blends in with the drums and guitar, and
my beautiful angelic chorus rises above the instrumentation.
Speaker 3 (04:17):
Do you mean shrill?
Speaker 4 (04:19):
Excuse me? Are you being spoken to? I'm just saying
that my voice cuts through like a hot knife through butter.
Speaker 2 (04:24):
So you think that there's equal distribution of your voices,
just that it's coming across differently because of the tone.
Speaker 4 (04:33):
I'm no scientist, but I think it has something to
do with the audio frequency that is recorded on the track.
Speaker 2 (04:39):
Okay, so let me ask you this, Yes, how does
that work when you are performing the track live and
we have got Art telling us that she is standing
there side tapping? Who sings that part of the song
where she's side tapping?
Speaker 4 (04:56):
This is the other problem than my beef that I
wanted to bring up. Art likes to claim she doesn't
have as many words because she can't remember them. She
doesn't have the memory to remember the words. So to
conceal the fact she doesn't know her own lyrics, she
just doesn't sing them.
Speaker 2 (05:09):
She just side taps and who sings? Is there just
a pause in the song?
Speaker 4 (05:13):
I have to sing it because she can't remember the words,
and if no one's saying it would just go silent, then
we'd both be side tapping.
Speaker 2 (05:18):
Okay, so let's go back to the recording. Yeah, there's
no side tapping in the recording. It's your voice, it
is my voice, that's true. So did you record that together?
And was this side tapping while you were recording. Is
that why there's a difference in there.
Speaker 4 (05:32):
It was a bit of side tapping. Actually, it was
a bit of space in the recording studio and we,
you know, as a kids, like say, we bust it
down a little bit, We shook it round. We had
a good time.
Speaker 3 (05:41):
I'd say that I wasn't recording the same amount of
lyrics as you. We recorded every single line together. We're
not together, but we both all did every single line.
Speaker 4 (05:48):
Yeah, and they're in the song, they're in the recording,
but when we sing it live, you just don't know
the words.
Speaker 3 (05:52):
I think she's jumping around first, she's too shrill to
be in this song. You know, she just cuts through
like a hot knife through butter. And now apparently.
Speaker 2 (06:00):
Okay, I'm going to stop you there. So I think
I need to hear this song.
Speaker 4 (06:08):
And the grass is always green side.
Speaker 2 (06:18):
Well, that's all sounded like you.
Speaker 3 (06:22):
That was actually etcetera. I was in that. That was
et cetera. And I I just had the thing where
it goes pushing daisies, that's all I said.
Speaker 2 (06:28):
That's all you said, Why do you recall when you
recorded it? Saying more than that?
Speaker 3 (06:33):
I recorded all the lines.
Speaker 2 (06:34):
What, so what lines are missing?
Speaker 3 (06:36):
You meant to be singing together? Okay, singing the words
all of it, Yeah.
Speaker 2 (06:39):
The whole thing. Yeah, and so et cetera, saying that
you did. But because your voice is what is it monotone?
Speaker 4 (06:45):
I would say, a flat monotone colorless.
Speaker 2 (06:51):
H Well, okay, that's probably enough if you want to
stay friends today. And so so you think that the
voice is there, but no one can hear it.
Speaker 4 (07:00):
So what you're saying, Yeah, like whales communicate over long
stretches of ocean subsonically, they go to go oh, and
they can hear each other. Fine, maybe art just needs
to find people in the same range of sound as her.
Speaker 2 (07:14):
So Art, can you sing that for me? What you're
meant to be singing?
Speaker 3 (07:18):
Things are never but the same when you six feet
and they say the grass is always greener on the
other side.
Speaker 2 (07:26):
Okay, et cetera. Can you sing your version please?
Speaker 4 (07:30):
Things are never the same when you're six feet and
they say the grass is oh, where's green on the
other side?
Speaker 2 (07:39):
Okay. So what I've just listened to is that actually
the recording that's been published.
Speaker 3 (07:44):
Yeah, that is the recording that is the bridge from
the song.
Speaker 2 (07:47):
And you think you can't hear yourself in that.
Speaker 3 (07:49):
No, I wasn't in that. I had two words pushing
daisy something.
Speaker 4 (07:52):
But it's not all the song. And I actually I
have an audio recording from the song, and I have
the chorus where you have quite a large amount of
not only creative control, but vocal presence. If you would
like to call it that. If we can roll that up,
I'd love jenety hear it, and maybe we can be
a bit more honest. I'll hear that about what's going on?
Speaker 2 (08:11):
Thank you? So who's saying when the music stops?
Speaker 3 (08:41):
Oh, that is me? But I just want to say,
that's not singing. That was speaking.
Speaker 2 (08:45):
Okay. So is that the equivalent of you speaking in
that track or are you missing parts?
Speaker 4 (08:50):
No?
Speaker 2 (08:51):
I was speaking that yeah, okay, So that might explain
why etcetera. Saying that that you're actually singing in the
other parts of the track but we can't hear you,
but we can actually hear you when you talk.
Speaker 3 (09:00):
Yeah, but I'm singing in the other bits too, okay. Yeah,
so I speak then sing them speak.
Speaker 2 (09:05):
Okay. So what do you want from me? What do
you want me to do about?
Speaker 4 (09:08):
Well?
Speaker 3 (09:09):
You know, we can't re record the song. It's already
out there, unfortunately. So I'm thinking I need like a
thousand bucks.
Speaker 2 (09:16):
Okay, I would be very curious to know how you've
come up with this amount of one thousand dollars.
Speaker 3 (09:23):
Well, one thousand dollars is just looks nice as a number.
But also, you know, if I'm talking about actual breakdowns,
because I am really good at maths.
Speaker 2 (09:31):
I reckon you are good at maths or you're not.
Speaker 3 (09:33):
Well, I've decided I am.
Speaker 2 (09:34):
Now you are. Okay, when there's a dollar sign.
Speaker 3 (09:36):
There's a dollar sign, business brain hits in, you know,
self employed drag queen here. You just got to do
what you've got to do, okay, So a thousand bucks
all right? So I'm thinking two hundred and fifty bucks
is for you know, emotional trauma and embarrassment, right because
you know that's just oh well, it's.
Speaker 2 (09:52):
A cheap deal.
Speaker 3 (09:53):
It's pretty good.
Speaker 2 (09:54):
Yeah.
Speaker 3 (09:54):
Yeah, I've been embarrassed over a lot more.
Speaker 2 (09:56):
I reckon I could afford to embarrass you a few
times today. Then it's two hundred and fifty dollars a hitch.
Speaker 3 (10:04):
The other seven hundred and fifty dollars is my payment
back for not being in the song fifty to fifty?
Speaker 2 (10:10):
Are you trying to get me to apportion your royalties differently?
Is that what you're asking for?
Speaker 3 (10:15):
Yeah? So I wanted the royalties to be different, but
I don't want to take more than seven hundred and
fifty dollars because I think that's fine.
Speaker 2 (10:21):
Okay, So break that down for me.
Speaker 3 (10:23):
Okay, So singles are a dollar twenty nine, yes, okay,
So I want to have sixty percent of that dollar
twenty nine.
Speaker 2 (10:30):
Sixty percent, okay, And you think how many albums will sell?
Speaker 3 (10:34):
I reckon seven to fifty, seven hundred and fifty albums. Yeah,
I think it's going to be really good.
Speaker 2 (10:38):
One right, seven really good? That's really good?
Speaker 3 (10:40):
Is it like twenty? So I think they're really.
Speaker 2 (10:43):
Seven hundred and fifty times one dollar twenty nine, and
so that's eight hundred and thirty dollars fifty.
Speaker 3 (10:48):
Which is close to one thousand. That's why I came
up with it.
Speaker 2 (10:51):
Yeah, it's nonsense.
Speaker 3 (10:52):
It's close to one thousand. You know, you round up,
you know when you get to like five.
Speaker 2 (10:55):
But why should you be paid more for doing less?
That's what I want to know. Why would you I
do want you to tell me what?
Speaker 3 (11:03):
Because I did the work in studio. I did the
work in studio, I did the recording, and.
Speaker 2 (11:06):
You've divided it fifty to fifty. But now you're saying
you do less and you side shuffle paid.
Speaker 3 (11:13):
More because she gets to have more of the limelight.
Speaker 2 (11:15):
No, I don't agree. How does that happen? You're still
up on stage?
Speaker 3 (11:19):
Oh excuse me.
Speaker 2 (11:20):
And et cetera. What do you say? What solution do
you see is fair?
Speaker 4 (11:25):
I want some compensation?
Speaker 2 (11:27):
Oh do you want compensation as well?
Speaker 3 (11:29):
It does.
Speaker 4 (11:31):
I'm telling you what, Art, I've got another beef as well.
Speaker 3 (11:33):
Are you? Are you opening a butcher? What's going on? Beef? Beef?
Beef beef?
Speaker 2 (11:37):
Okay? What's your compensation for? Well?
Speaker 4 (11:40):
When we recorded the music video, I wore a pair
of fishnet tights onto the set, and Art deliberately took
the horns on her wig and she ripped my fish
net tights and they cost seven dollars and ninety nine cents. Okay,
So I want that seven dollars and ninety nine cents reimbursed,
and then an additional one thousand, nine hundred and ninety
three dollars for the embarrassment of having to wear ripped
(12:01):
tights on the set of a music video. Although they
fit in with the aesthetic of a pop punk song,
I think it was embarrassing to not be perfect on
the day.
Speaker 3 (12:09):
Yeah, but can I say, can we roll back the
music video and see that you are not wearing any
rip fish nets in the music Now I.
Speaker 2 (12:14):
Just ask you, how do you quantify one nine hundred
and ninety three dollars?
Speaker 4 (12:18):
Because my embarrassment's worth a little bit more than arts,
because I'm not embarrassed as often.
Speaker 2 (12:22):
So saying her embarrassment's worth two hundred and fifty dollars,
you're saying your embarrassment's worth one nine hundred and ninety
three dollars. Well, you can say a million dollars if
you like. You have to persuade me. Why would I say? Yes?
Of course, you have to quantify it with loss, monetary
loss or compensation for trauma or injuries. So you've you've
(12:48):
quantified seven dollars ninety nine for your hosary.
Speaker 4 (12:51):
Yeah, Oh yeah it is and is hosary. I actually
wore the stockings today just so you can see.
Speaker 3 (12:55):
Ah, how long ago was the recording November last Yeah, okay.
Speaker 2 (13:01):
And have you worn those Hosary sins?
Speaker 4 (13:03):
Well? No, I just keep them in a drawer and
I bring them out for special occasions when I'm around
it and make it feel bad.
Speaker 2 (13:08):
And have you had an argument like this in the past.
Speaker 3 (13:10):
No, it's quite upsetting to me.
Speaker 4 (13:12):
I would say, Yeah, it's absolutely taken a toll on
my mental, physical, spiritual health. I would say that I'm
much further away from God than I'd like to be.
Speaker 2 (13:20):
What has taken a toll on your mental, physical, and
spiritual health? What has well?
Speaker 4 (13:25):
The fact that my good duty here isn't as close
to me is i'd like her to be. And the
fact that she's claiming that I didn't include her in
a project that meant a lot to us. She's never
brought this up to me. If she said, hey, I'd
love to sing some of your lines, then I would
have said, yeah, sure, we can share them around. I'm
not precious.
Speaker 3 (13:40):
Yeah, but we can't record the single. It's already out
there and being distributed across selling almost seven hundred and
fifty copies.
Speaker 4 (13:47):
Yeah, but you never brought it up when you heard
the song the first time. You only brought up when
we started performing it live.
Speaker 3 (13:51):
Because you're really hard to talk to you, and that's
why I had to bring it to Judge Gina.
Speaker 4 (13:54):
Well that you're really hard to talk to as well.
Speaker 2 (13:56):
Okay, I'm going to stop you both there. I've heard enough.
I'm going to deliberate now, I just need a moment.
Speaker 1 (14:05):
Judge Gina it is deliberating and will soon hand down
her verdict. Please do not leave the courtroom.
Speaker 2 (14:19):
Art Simone, and etcetera, etcetera. I've heard your evidence and
made my decision, et cetera, et cetera. Your counterclaim of
seven dollars ninety nine for ripped tights has been dismissed.
Art Simone. Your claim for eight hundred and thirty dollars
and fifty cents compensation has also been denied. Nothing further.
(14:40):
Thank you.
Speaker 4 (14:44):
You know, I was hoping to get my seven dollars
and ninety nine cents for my ripped tights, but that's okay.
What I'm going to do is just maybe steal a
pair of arts unripped tights and replace my with hers,
and then put my ripped tights in her suitcase, but
not tell her about it, and then I hope she
doesn't take me to judge Gina over that next time.
Speaker 3 (15:00):
I am feeling absolutely devastated about today's outcome. It is
just horrendous news to hear from my idol, Gina.
Speaker 4 (15:08):
I feel like my disagreement with Art Simone has been
settled once and for all, but I think that she'll
invent new ways to try to rise above me and
step on my creativity and my hope and happiness as
a human being.
Speaker 3 (15:19):
I do not feel like I've got a fair trial
at all. Gina was just so stuck up on all
of the little details. It was all about numbers, but
it was meant to be about me.
Speaker 4 (15:28):
I think my relationship with Art Simone are we fine?
I see tomorrow we are good.
Speaker 3 (15:32):
I think this has affected my relationship with et cetera.
But I'm a true professional and I'm used to working
with dogs, so I'm gonna keep working with her whether
I like it or not. But I'd never want to
see those shame stockings ever again. I do not feel
like our disagreement has been settled once and for all
at all. I'm still devastated, and I'm going to be
reminded of it every time I hear that song.
Speaker 1 (16:03):
This has been an iHeart Production,
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