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In a captivating twist at the Milan Cortina Games, Canadian figure skater Madeline Schizas found herself making last-minute adjustments to her routine due to music rights complications. Known for her enchanting short programme inspired by Disney’s “The Lion King,” Schizas was forced to swap the opening section of her performance, thanks to the inclusion of a track from global superstar Beyoncé.
A Necessary Change
“I knew the first 35 seconds were owned by Beyoncé, and so I believe that was the problem,” Schizas stated candidly. “Beyoncé’s a no-go.” The 22-year-old from Oakville, Ontario, had anticipated this disruption well before the season commenced. Fortunately, with the assistance of Skate Canada, she was able to secure the rights to the final two-and-a-half minutes of her routine just three months prior to the Games, marking a significant relief for the skater. “It’s been a long year. It seemed like nothing was there. Not ‘The Lion King,’ not anything else,” she reflected on the arduous journey leading to the Olympics.
A Wider Issue
Schizas is not alone in facing these challenges; several competitors have encountered similar hurdles regarding music rights as the Winter Games approach. Spanish skater Tomas-Llorenç Guarino Sabaté recently made headlines when he learned just days before the Olympics that his quirky medley from the “Minions” film could not be used. Thankfully, he received clearance for an alternative piece by Pharrell Williams, narrowly avoiding a potential disaster.
The complications surrounding music rights have become increasingly prevalent since the International Skating Union relaxed its regulations in 2014 to allow songs with lyrics, which are not typically in the public domain. As a result, many athletes have found themselves navigating a convoluted clearance process. Skate Canada has proactively engaged a third-party firm specialising in music rights to assist skaters in obtaining the necessary licences.
Adapting to Change
This season has seen a wave of adaptations as skaters scramble to ensure their music selections comply with regulations. Canadian ice dancers Marie-Jade Lauriault and Romain Le Gac had to switch their rhythm dance from a mix of “Thunder” and “Cream” by Prince to a remix of “Sexbomb” by Tom Jones after being informed of a clearance issue in December. Fellow ice dancers Marjorie Lajoie and Zachary Lagha also faced the music, opting to replace “Thunderstruck” and “Are You Ready” by AC/DC with different tracks to avoid copyright violations.
“It doesn’t matter how I feel; I just have to adapt,” Lagha remarked with characteristic bluntness. “It sucks, that’s it. But that’s OK; we’ll manage. There is plenty of music to skate to.” Lajoie echoed this sentiment, suggesting that their forced change may have opened new artistic avenues. “It was really repetitive, the ‘Thunderstruck’ song. We liked it, but when we changed it, we realised there are other layers that we can use.”
The Importance of Legal Clarity
While some seasoned competitors, such as four-time world medallists Piper Gilles and Paul Poirier, managed to sidestep these issues by securing music rights well in advance, the situation remains fraught with uncertainty. Gilles noted the ongoing vigilance required: “Even like six, seven weeks ago, I sent our lawyer, ‘Hey, are we good with everything?’ It’s just another thing on our plate, but everybody’s doing it. It’s part of our plan and our process.”
Why it Matters
The intricate landscape of music rights in figure skating highlights a broader issue within the sport, as athletes grapple with the complexities of legal compliance amidst the pressure of Olympic competition. As more skaters adapt to these evolving regulations, the importance of effective communication and support systems becomes paramount. The capacity to showcase artistry and originality is fundamental to the sport, and as such, finding solutions to these hurdles is crucial for maintaining the integrity and excitement of figure skating on the world stage.
