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The available reporting does not establish that JoJo Siwa plagiarized “Karma.” It does establish that Brit Smith recorded an earlier version, that the song’s reported writers are Tim James, Antonina Armato, and Desmond Child, and that Siwa says Rock Mafia pitched it to her. Reporting also says rights had to be obtained for Siwa’s release, but the underlying agreements and complete rights history are not public in the sources reviewed. An earlier recording explains the controversy; by itself, it does not prove plagiarism.
Why did people accuse JoJo Siwa of plagiarizing “Karma”?
The controversy followed the discovery that Brit Smith had recorded an earlier version of the song, called “Karma’s a Bitch.” Pride reported on Smith’s recording and relayed Smith’s understanding that the song had been written for and passed on by Miley Cyrus. That Cyrus connection is Smith’s reported understanding, not an independently verified account of the song’s origins. Pride’s report
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When Siwa released her “Karma,” listeners could compare it with Smith’s earlier recording and began using terms such as “stolen” and “plagiarized.” But chronology and resemblance can prompt questions without answering the legal or factual question of who had permission to release which version.
What is known about the two recordings?
| Recording or account | What the cited sources establish |
|---|---|
| JoJo Siwa’s “Karma” | Columbia Records released it on 5 April 2024, according to Official Charts. Pride reports that the credited writers are Tim James, Antonina Armato, and Desmond Child, and that Siwa has no songwriting credit. |
| Brit Smith’s “Karma’s a Bitch” | Pride reports that Smith recorded an earlier version. The cited coverage does not provide the underlying rights documents or establish a complete chronology of ownership and permissions. |
| Siwa’s account of making her version | On her podcast, Siwa said Rock Mafia pitched her the song. She described changing its point of view and said the production went through many versions. iHeart’s episode and transcript |
The comparison separates three questions that are easy to conflate: who is credited as a writer, who performed or shaped a particular recording, and who held or granted the rights needed for a release. Siwa’s account describes her involvement in the released performance and production; it does not make her a credited songwriter.
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What does the rights reporting show—and what does it leave unanswered?
Pride reports that the song was brought to Siwa and that rights had to be obtained for her release. That is evidence of a reported rights process, not disclosure of its terms. The available sources do not include the underlying agreement, a complete chain of rights, an independent legal analysis, or a court decision finding plagiarism. They therefore do not establish which party owned each relevant right, whether the recordings are legally identical, or the precise scope of any permission.
Without those materials, it would be inaccurate to present the accusation as a proven fact—or to claim that the public record settles every question about the licensing. The sourced conclusion is narrower: an earlier recording exists, named writers are credited, and reporting says rights were obtained for Siwa’s release, but the documents needed to assess the full rights history are not provided.
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What did Siwa say about the song’s meaning?
In Sony Music Canada’s release announcement, Siwa discussed the song as something listeners could connect to experiences in her life, saying, “There are a lot of stories in my life you could match the song to.” The label described “Karma” as part of a new musical phase and identified Rock Mafia as producer. That statement speaks to Siwa’s interpretation of the song, not to its authorship or licensing. Sony Music Canada’s announcement
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What does the chart record tell us?
Official Charts lists “Karma” as Siwa’s debut entry on the UK Official Singles Chart, where it peaked at No. 76. That is a chart-performance fact, not evidence for or against copying or permission. Official Charts
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