A to Z of Making It, Copyright, Music, My Stories

Fight The Copyright Powers That Be

I know this is a site about metal and rock but sometimes I need to go outside these styles.

Case in point.

Taylor Swift and her new record deal.

She left Big Machine Record’s and signed with Republic Records, a subsidiary of Universal Music Group.

In her new deal, Swift owns her Copyright. In other words, those master recordings are hers.

Remember I’ve been saying those who own their own copyright will win in the end. Swift isn’t stupid, she has seen how much streaming services pay the “copyright holders” of recordings. So instead of selling her rights to the corporation for a large advance right now, she’s keeping her future songs in her bank.

But that’s assuming that her future songs will have the same impact and success as her Big Machine Records catalogue, which in this case all stays with Big Machine Records.

The big one for me is how the sale of Universal Music Group Spotify shares are distributed (provided the sale happens).

Basically the label was in a powerful negotiating position against the streaming service because it had amassed a shit load of copyrights over the years. It held the rights of songs other people had written even when those songs should have been in the public domain.

So if Universal sells its Spotify stake, the label must pay all of its artists a cut of the sale as non-recoupable. Universal’s stake in Spotify is estimated to be above $850 million.

Sony already sold its stake for $768 million and Warner Brothers sold some of their stake for $504 million. Both labels, cashed up, distributed monies to their artists differently. Sony artists got monies paid as non-recoupable and Warner Brothers artists got the monies applied to their recoupable balances.

The VOX article gives a great example of why this happens:

When an artist signs with a music label, the label advances the artist some of the money it thinks the artist will bring in. Essentially, if an artist signs a $3 million contract, the label is saying, “We’re pretty sure you’ll earn $3 million in royalties in your first year of sales, so here’s that money early.” But that means the artist doesn’t get any more royalty payments until they’ve earned back that $3 million.

Whenever an artist hasn’t yet earned back an advance, they have what’s called “an unrecouped balance” with their label. As far as the label’s accounting books are concerned, the artist owes the label money.

So when a label sells Spotify shares — which means a big payday — it’s got two possible ways of sharing that payday with its artists. It can either count the money toward any unrecouped balances, or it can choose not to.

Sony decided that when it shared its Spotify money with its artists, it was going to ignore any unrecouped balances and send them the money directly, without applying it to their advances. Warner Brothers did the opposite, and applied the Spotify money to artists’ unrecouped balances before passing any of it along. In practice, that meant Sony artists got a big paycheck out of the Spotify deal, but the only thing that a lot of Warner Brothers artists got was the promise that they were a little bit closer to seeing an actual royalty statement someday.

For Universal, Taylor Swift is forcing their hand to distribute the monies to all artists regardless if they owe the label money or not.

Swift’s spirit here is the rock and roll spirit.

So how did a country artists who crossed over into pop become a rock star in ethos by standing up to the powers that be?

“We’re Not Gonna Take It” was the war anthem for a whole new metal/rock generation. But what are the rockers and metal heads doing right now.

Metallica with their label went to court against their fans, while Swift is seen as an artist standing up for other artists against the Copyright monopolies and greed of the record labels.

Like her or not, she had issues with Spotify and Apple over payments, and then probably realized it’s her label that was the issue.

Regardless, in true rock and roll spirit she asked for her music to be removed and it was. Until she decided it was time to put it back on, at the price she believed it was worth.

My Stories, Unsung Heroes

Creed II

I paid $106 to watch Creed II last night. 5 tickets plus popcorn, drinks and ice cream cones. And the movie studios wonder why people pirate.

Also I’ve never understood why an adult ticket is $14 and a child ticket $13.

What the fuck does that mean?

You buy three child tickets to save $3.

But the child still takes up a seat and still watches the same movie as an adult. It’s like going to a rock concert and the promoter offering child tickets. It doesn’t make sense as the experience for a child is the same as the adult. They still watch the same show/movie and still occupy a spot/seat.

If they are serious about offering decent family tickets they need a price rethink.

Maybe a family package based on your family dynamic might be more suitable. Like $55 for a family of five. $45 for a family of four and so on.

But its too difficult for Village Roadshow, the MPAA or the movie studios to think up innovative business models and price structures because it’s easier to pump money into the political parties and get laws passed.

To paraphrase Martin Luther King, I dream of a day when these lobbyists and greedy corporations get their due and are totally replaced by Netflix and Amazon who by default will then be the companies charging top dollar and seen as the enemy.

Anyway movie studio rant over and back to “Creed”.

“Creed” is breathing new life into the “Rocky” series.

The story of the children of Creed fighting Drago was going to happen, but how it would be told without being too cliche was open to debate. So the writers could have told a risky original story but instead they decided to chuck in the story of “Rocky III” with the marriage and pregnancy of “Rocky II” and call it “Creed II”.

Imagine if the flick had Adonis Creed as the fighter that wanted to fight Viktor Drago as revenge for Apollo instead of making the flick about Drago wanting to fight Creed as revenge for his fathers defeat at the hands of Rocky. Too risky to paint the Eastern European as the antihero but also predictable.

Even though it borrows a lot from previous “Rocky” movies, it’s still a good flick.

My boys haven’t had a cinematic boxing experience and the sound effects of the punches in the cinema are bone shattering and it never sounds the same and it doesn’t have the same impact in our home cinema. So they loved it. Well the six year old came for the popcorn and fell asleep half way through, after the popcorn was eaten.

And “Creed II” is a movie that deals with the “mind” being ready for what it needs to do and to know why you are doing what you plan on doing.

This is similar to topics I teach as a Youth sport coach. Probably why the movie resonated with my kids, along with a cool visual experience of boxing on the big screen.

But one thing that’s missing for me is the awesome soundtrack music, especially during the training scenes and final fight scenes. That Rocky IV soundtrack is legendary and more influential in music circles than the movie is.

Regardless “Creed II” is a new adventure and it’s risk free, enjoyable movie making.

Classic Songs to Be Discovered, Copyright, Derivative Works, Influenced, Music, My Stories, Unsung Heroes

2018 -II – Feels Like I’ve Been Here Before

Here is the Spotify playlist.

The Day When Legions Burn

Mark Tremonti is a riff master. He just keeps churning out song after song after song. He also knows the modern game is to release frequently and to get people to listen.

“The Day When Legions Burn” is up there as a classic speed metal song and those leads are guitar hero material.

“Trust” has got this groovy and cool intro/verse with a Chorus that would not be out of place in Creed and Alter Bridge. But that slowed down bridge section which reminds me of “Blackbird” is a fuck yeah moment.

And in “Desolation” that section from 2.15 minutes to the end is perfect.


From England and man you can hear their Maiden influences on the “Hellhound” album.

This song is actually a cover of one of my favorite and obscure Maiden songs from their “Somewhere In Time” album.

Monument also have a song called “Death Valley” on the album which has a vocal line similar to “Deja-Vu”.

Feels like I’ve been there before indeed.

Dance Macabre

How good is this band?

They just nail it with riffs that remind me of songs from my youth and Tobias Forge is one hell of a lyricist and vocalist. Even if you don’t like his Evil Pope/Cardinal look, there is no denying he’s an excellent artist.


From Iceland and I have no idea how this pop rock band ended up on my playlist, but the song is catchy and it sounds familiar and it’s a cool listen.

Living In A Hurricane
King Company

From Finland. Another super group project of extreme metal musicians playing songs from their influences and I fucking dig it.

The intro riff is straight from the “Sunset Strip”.

The whole “Sometimes The World Ain’t Enough Album”
The Night Flight Orchestra

Read my review here.

Awaken The Tyrants

From Germany.

This is the beauty of Spotify. Every artist from any part of the world is available to be found.

I love the sound of this song. It’s classic heavy metal the way I now it.

The whole “For The Love Of Metal” album.
Dee Snider

Read my reviews here and here.

The whole “Long Nights Journey Into Day”

Read my review here.

Killing Ourselves To Live
Black Vultures

Lzzy Hale gets it. She communicates with her fans via Twitter and she writes lyrics which reflect life. And her topic range is huge from tongue and cheek songs about threesomes and vibrators, to more serious subject matter about internet trolls and taking risks to stand for something.

“Killing Ourselves To Live” to me, is about not being afraid about the pain that the fight for a better life and society will bring ya.

“Buzz” based on the lyrics looks like it’s about a vibrator.

“Black Vultures” to me is about the social media haters (the black vultures) circling and waiting for Lzzy to fail.

Easter – Live at the Royal Albert Hall

The lead break here is what hooks me. It hooked me from the first time I heard it and it still hooks me now.

Why Won’t You (Die Motherfucker)

Any song that starts off with the words “why won’t you die motherfucker it’s time for you to leave” has my attention.

It’s aggressive and energetic and I dig it.

It came across my radar when Spotify added it to one of their playlists which I follow.

And of course they are from Sweden.

Feel The Way I Feel

It sounds nothing like the Nonpoint I first heard, but goddamn it, I like it. It’s a risk and they are flying high with it.

Running Out Of Time
Ladders For Leaders
Dead Letter Circus

Great Aussie rock band.

“Heartline” and “Ladders For Leaders” are the standout tracks for me.

Check out these lyrics;

Villains created,
Become ladders for leaders
To keep us from asking
Who’s holding the strings
Coming from their backs

Governments defined. Create an enemy and use said enemy to ascend the political wilderness and rise to the top. And behind you, the corporations and their lobbyists are filling you with cash so you bow down to them.

Another Day

This album was an interesting experiment from George Lynch and Corey Glover and this song is by far the best.

Body Of Work

Degreed are hit and miss with me. On this song, they nail the heavy rock in the verses with a super catchy melodic rock chorus.

And of course they are from Sweden.

Some Thing About Love

It’s not Josey Scott on vocals but they still rock. This song could have been on a Good Charlotte album it’s that catchy.

Take Away My Soul
Uriah Heep

They are still rocking it, being led by Mick Box who is the only original member left.

I am not a person willing to buy into this (I’m a free man)
I stand by my own decision I made long ago (I’m a free man)
I am stronger and I go my own way

We believe we are free, but we are tied to a lot of institutions, it’s not even funny.

Plus there is an outro guitar solo that seems to go on forever and I like it..

The whole Persistence album

From Italy.

Read my review here.

Walk Me Through The Fire
Nordic Union

The Road To Hell

Nordic Union is a Danish/Swedish Frontiers project featuring Pretty Maids vocalist Ronnie Atkins and guitarist/songwriter/producer Erik Martensson from Eclipse and W.E.T.

Joe Lynn Turner fronts Sunstorm and melodic rock songwriter Alessandro Delvecchio provides keys and songwriting. “Road To Hell” is a song that has a few musical passages reminiscent of “Judas” from Malmsteen.

And I’ve had this feeling for a while that the projects Delvecchio and Martensson are involved in are starting to sound very similar. And Frontiers really needs a rethink here.

Remember this is why hard rock went into cardiac arrest while everyone blamed Grunge. Too much samey equals career suicide.

Stay tuned for 3.

Copyright, Music, My Stories, Piracy, Stupidity, Treating Fans Like Shit

The Way The World Works

Corporations lobby the Government to have their taxes lowered while banking titans rort the system, say sorry at a Royal Commission and all is forgiven.

Welcome to Australia or any democratic country for that matter which has become a plutocracy.

Read this Guardian article about donations from a lobby group called Village Roadshow to Australian political parties.

Put enough coin in the pockets of politicians and watch them vote YES for the laws the corporation wants even though said law is bad for the people who voted the politicians in.

In this case the laws are all around Copyright legislation and site blocking powers. Plus Village Roadshow is allowed along with other entertainment lobbyists to direct search engines to remove links to sites they don’t like and there is no due diligence done.

Village Roadshow is basically allowed to become an internet police force as they tell ISPs to take down sites at their choosing.

You can imagine the heads of Village Roadshow agreeing to take some losses now financially and reap the benefits later. No different to the drug cartels who will allow a shipment to be lost while many more slip through and millions come flooding in.

We will know in February 2019, how much Village Roadshow donated to the parties for the most recent legislation. And for those people who still don’t know what I’m talking about, this is basically a rich corporation trying to influence the passing of legislation to benefit their business model.

In saying all of the above, the public will also find out how much the internet providers and companies like Google would have donated to politicians for them to stop the legislation.

Again this is for their own business models to succeed. Once again the people who matter the most, the consumers of entertainment are nowhere in the conversation. Remember, if there is no connection between a consumer and art, there is no money.

What Village Roadshow and the entertainment industries want is a return to their business model which more or less began 100 years ago. Seriously if you want to look at organizations resistant to change, look no further than Village Roadshow.

And Politicians should be embarrassed as they failed the people who voted them in, for a selfie with the rich and famous.

At least one politician raised the concern or maybe he was paid by Google to raise the concern;
“As lawmakers, just because we might get a selfie with Richard Roxburgh — I love Rake as much as anyone else — or a political party gets a donation from a rights holder, does not mean that we should stop looking at how to make the types of reforms that balance the needs of creatives and the needs of producers versus the needs of consumers.”
Ed Husic – Labor MP

It’s hard work to balance the needs of creatives and producers versus the needs of consumers and no one right now likes hard work, so people go down the simple route of serving the needs of creatives and producers and screwing consumers.

A to Z of Making It, Classic Songs to Be Discovered, Music, My Stories, Unsung Heroes

2018 Spotify Stats

I listened to 6,178 different songs and devoted 43,201 minutes to music on Spotify.

So to all the people who say music is finished, remember there are millions of people around the world with similar listening habits. But “we need stronger Copyright”, the RIAA would say.

I started the year listening to “Dream Evil” by Dio and Headstones became the first new band I checked out based on a review by Deke over at ThunderBay.

I spent 34 hours or 2,040 minutes with Machine Head.

My five top artists for 2018 are Machine Head, The Night Flight Orchestra, Def Leppard, The Butterfly Effect and Dee Snider.

As you can see there are no new artists in the list. It’s a lifers game. If you are in it for a quick buck, get into the stock market or deliver Pizzas.

My top five songs for 2018 based on listens are “Monolith” from Thirty Seconds To Mars, “A Love Unreal” from Black Label Society, “Final Conversation” from The Butterfly Effect, “The Peace” from WASP and “This Is War” from Audrey Horne.

Spotify tells me that I listen to non-mainstream artists 73% more than the average listener – so here’s to being different. I’m sure there are a lot of others who are exactly like me.

Here is my Top 100 playlist Spotify put together for me.

Music, My Stories

A Justice Conversation

Here is a normal work day conversation over Skype For Business.

If you see any sentences in Italics, it’s basically me trying to fill gaps for the reader.



Go listen to the deluxe reissue of “…And Justice For All”.

It has the album remastered, then there is a live performance and the best parts are the demos from James Riffs tapes.


Did they finally put Newstead’s bass track up?

From Day 1, Tom has been pissed about the missing bass, more so than the actual bassist.


Nope, still missing.


Not interested then…


Apparently they couldn’t remix it, because of Lars.

There are so many tape cuts and re-joins to punch Lars in, the tapes are more or less useless.

If you don’t want to hear the album, check out the demos.

There is an interview with Steve Thompson who mixed the album explaining why they couldn’t remix it due to so many cuts to the tape.


They had an opportunity to really change the dynamic of this reissue which everyone would have wanted to check out and then they threw it away.

You can see how heavily (with sarcasm) the missing bass affects Tom.


Just listen to the demo tapes.


I will check out the demo’s.


Get over the missing bass. It’s been missing since 1988. 30 years ago.


Wow. 30 years from the first time I heard “One”.


I know, where does time ago. I remember picking it up from Brashs at Westfield…


Brashs lol.


Do you remember it?


Yeah I remember it.

I’ve still got a tape deck that I bought from there at my parents place but I don’t think that record store was called Brashs.


It was Brashs. “Justice” and “Dr Feelgood” came from that store, plus a lot of blank BASF cassettes that ended up in my trousers as I walked out. Money was in short supply.


Was it called something else before Brashs?


Nope just Brashs… They had a very small collection of music to sell as they mainly focused on Hi Fi products.


Its where I picked up my five vinyl singles after I won them on a radio contest.

Remember when I picked that Sinead O’Conner’s “Nothing Compares” would be number one in the contest.

I still think the shop was called something else. Yep, I’m a stubborn prick

Tom is one of those people who is always right. If you don’t know him, it will rub you up the wrong way, but hey, we’ve been mates for 36 years, so I’m used to him.


You can call it whatever you want. In the end history will show it was called Brashs.

And then around the corner on the other side was Rings Music World.


Rings Music World. That was it.

I have two remastered ones on Spotify. One has 9 songs and the other 147?

I knew he was talking about Rings Music World when I was talking to Brashs. I just thought I’d play the game a little bit longer.


147 songs


I’m listening to “Frayed Ends of Sanity” demo and James vocal melody.

Nah nah nah


Bah nah nah, whoa nah na

James Hetfield has a magical ability to hum out a perfect syllable melody, with whoas and nahs which he would then use to write lyrics to. I always enjoy listening to those demos.


Brilliant lyrics, so inspiring

Of course, I’m being sarcastic here.


Then from out of nowhere “Frayed Ends of Sanity, hear them calling me”.


It looks like he had the title and the hook and too many vodkas.

Maybe it was tea or Buds.


I like the demo’s better. Guitar’s sound tough. Man he could write some riffs back then.

There is a general view that when you have nothing, you have nothing to lose, so you are free to do what you want.

This is what I believe Tom is referring to when it comes to James and his technical riffs because after you break through into the mainstream, then you have something to lose and you are not as free as you want to be.


Damn right. I think we both have agreed that James could sack everyone and it will still be Metallica. In the end, he’s the songwriter and the voice.

This is so true. Lars knows it, hence the reason why he trademarked the Metallica name in his name as the owner.


Guitar Solo – Live At Long Beach Arena.

What happened to Kirk?

Kirks guitar playing on Metallica albums from Load onwards is covered up with too much wah. Maybe that was the reason they told him, no guitar solos on “St Anger”, as they got sick of hearing the wah.


He got lazy.

How is the guitar solo – I haven’t heard it…


Nothing impressive, but you can hear how tight he used to be and the range of ideas he had as opposed to the standard sloppy mess he does now with bends and the Wah to cover it all up.

Then he plays “Little Wing”. Its no Stevie Ray Vaughan version though.


I watched a few pro shot videos of Metallica on their recent tour.

“Fade To Black”, “Now That You’re Dead”, “Spit Out The Bone” and man Kirk is a mess with his leads, even in the “Fade To Black” intro lead he ad libs some hammer ons and pull offs and he misses the beat. It’s pretty poor.


I think their live concerts today are not worth it. More dissapointing. Lars is all over the place with tempo’s and ad libbing whatever the hell he wants.

I went on YouTube looking for some drum lesson things and came across a whole set of video’s of drummers “Lars’ing” songs. It was hilarious.

Lars’ing is basically a drummer playing pop songs to the way Lars might play them. Sometimes a bit too busy than needed.

The big difference as mentioned in the comments is that this drummer is on tempo and his fills are spot on and don’t carry over. So I call Lars’ing songs with the correct tempo.


I saw em on “St Anger” and when Lars refused to play some of the double kick stuff, I was like what a waste.

James as usual was on song, Trujillo was the new guy, and James kept saying how hes a brother and been part of Metallica forever.

As much as the fans bang on Lars, there is no denying he is perpetual. For everything that gets thrown his way, he has built a 38 year career in music.


I think James suffers live from trying to keep up with Lars’ shennaigans and ridiculous tempo changes.


I don’t think James cares anymore it.


There’s a clip of where they let Joey from Slipknot play a few tracks live probably 10 years back when they were on tour together. Its sounds spectacular.

Tempo is on point and the double kick is like a machine.

It was a festival and Lars called in sick so the show went on with a few drummers from the other bands on the bill.


I was the one that told you about it.

Did you forget?

Right, I forgot, you are stubborn prick.

Tom always takes credit for things, remember he’s always right.


Well my thoughts are as follows:

Lars is still stuck on the idea that they are the fastest band in the world and thats why people come to see them.

It was one of their calling cards in the 80’s, so I think on purpose, he tries to play faster to live up to that ridiculous title he has in his head.

Maybe Tom is right after all.


Lars reckons he will be playing Metallica songs, well into his 70’s. Umm, yeah…

There is an interview doing the rounds that mentions this.


Kirk is also over thrash and has no interest in playing the same solo again, and thinks by ad-libbing licks however he wants, it somehow adds to the individual performance concert goers can experience.

He thinks thats what makes each concert special and this is what fans prefer rather than hearing the song as they know it.

While James is only trying to salvage the carnage of these two buffoon’s ideas whilst saving his voice.

Kirk believes he’s a blues guitarist but he’s not. And he lied about why he didn’t have songwriting credits, blaming his lost phone. It was up to James to set the record straight and he said his riffs just weren’t good enough to warrant inclusion.


No argument from me over that one. Its easy to be critical, but for the prices they are charging for tickets, I think the fans deserve to get what they paid for.

For the live part of the “Justice” release, I like how “Blackened” segued into “For Whom The Bells Tolls” – that worked brilliantly.. Crush em with speed and then kick it back a little bit with heaviness.


I’m at a point where I would comfortably say that “For Whom the Bells Toll” is Metallica’s best song.

Seriously what is a heavier song than that in Metallica’s catalogue?


“For Whom The Bells Toll” – well you know I have a special place in my heart for that song. The fact that we have 2 minutes of skull crushing music before the vocals even start is enough to get my ramped..

To me that’s progressive music because all formula of what a song should have goes out the window.

Plus I always say that “Ride The Lightning” is THE Metallica album… Everything that came after is because of RIDE.. It was that good they re-wrote it twice in song styles with “Master” and “Justice”.


Now you’re re-writing history again. You said “Master” was the best.


I’ve never said “Master” is the best. It’s a great album but “Ride” is THE album.


Yes you have.


Hell, I get into debates with people about which one is THE album.

Your memory is crap..


I know you get into arguments about which one is better, and I argued “Ride” is better and you “Master”.

Its good that you’ve finally come to your senses and admitted “Ride” is better.

Remember, Tom is always right.


Speaking of the heaviest song, “Harvester” has to be up there… I’m listening to that live version, from Seattle and it’s thundering…


They have a number of heavy songs.

I always liked “The God that Failed” from the Black album. I prefer that over “Sad but True”.

Sorry “Sad Patrol”. I never liked it.

I hate “Wherever I May Roam” as well.

We had a drummer in a band who believed James sang “Sad Patrol” in the Chorus instead of “Sad But True”. The syllables are the same was his answer.


But I don’t mind jamming that Em groove.

To “Sad But True”.

When I first heard the album, “Holier Than Thou” grabbed me straight away.


Yeah that is crushing.

“Unforgiven” is the best song on the album. Wasn’t a big fan of “Enter Sandman” either.

Actually I hated it. But I liked jamming it.


Whats the go with all these Metallica songs, great to jam but you don’t like it…


It’s a weird relationship

“St Anger” is full of those kind of songs.


True, okay songs, but cool grooves. It’s sort of my relationship with melodic death metal or metal core bands.


Other stand outs for the Black album would be “Don’t Tread On Me” for the lyrics and “Through The Never” (the main riff and that heavy bridge riff – I absolutely love)

And probably “Struggle Within”, again because of one riff after the solo which I absolutely love.

That’s Tom in a nutshell. A riff or a solo in an okay song will elevate the status of the song to a higher plane.


I tell ya, 1989 Metallica live, are, on fire… James vocally as well is killing it. It sounds like James is having a riot with “Seek And Destroy”.

Check it out. His dialogue with the crowd and the way he gets them to sing along is pure gold and you can hear he is having a lot of fun with it.

And that is the end of our conversation. When you talk about music, you go on such different tangents and it’s so much fun.

A to Z of Making It, Music, My Stories, Piracy, Unsung Heroes

Price Reset

All prices have a reset.

The live business greed at the moment is like the record label greed pre-Napster. Releasing albums with two to three good songs and charging too much for it.

If artists allow corporations to keep exploiting their fans in this way, there will be a backlash.

A price reset.

In the same way housing prices and share prices have a reset.

Even the recording business consumer prices have had a reset however the licensing fees the labels charge to services have increased exponentially.

On demand TV has had a price reset because of Netflix. There is a whole new generation who don’t even remember what Cable is.

Artists need to make money, there is no doubt, however just because they release new music it doesn’t mean they are not entitled to make money.

No one has a right to make money from music. Ed Sheeran gave his music away for free and played for free. It was only after Sheeran established his worth in the market that he was able to start making some money.

In other words, just because Ed Sheeran decided to write and produce music, it didn’t mean he had an entitlement to be paid from the start; he had to prove to people that he was worth paying for before people did so.

The internet distribution methods allows everyone to create. There are no gatekeepers. So anything an artist creates is competing with everything released today and in the past.

You have to remember that it’s only a few hundred years, if that much, that artists are working with money. Artists never got money. Artists had a patron, either the leader of the state or the duke of Weimar or somewhere, or the church, the pope. Or they had another job. I have another job. I make films. No one tells me what to do. But I make the money in the wine industry. You work another job and get up at five in the morning and write your script.

This idea of Metallica or some rock n’ roll singer being rich, that’s not necessarily going to happen anymore. Because, as we enter into a new age, maybe art will be free.

Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?

In the old days, 200 years ago, if you were a composer, the only way you could make money was to travel with the orchestra and be the conductor, because then you’d be paid as a musician. There was no recording. There were no record royalties. So I would say, “Try to disconnect the idea of cinema with the idea of making a living and money.” Because there are ways around it.

Francis Ford Coppola on answering a question about how a start up artist can make money in the current P2P 2011 climate.

It’s an old interview from 2011 but Coppola makes some relevant points especially the last line about disconnecting the idea of cinema (and in my view any art in general like music and books) with the idea of making a living or earning money.

And it’s hard for people because we’ve all grown up in an era that showcased the millions movies and bands made.

And there are always different ways around making money. You just need to put the hard work in.

Trent Reznor had some albums released for free on P2P and they proved popular. He released a super deluxe edition afterwards and people purchased this limited edition run and he grossed $700,000.

Amanda Palmer is the crowd funded hero.

Even Protest The Hero was surprised how large their fan base is when they went the crowd funded route after being dropped by their label. For the next release, they did a special Bandcamp release with a 6 month subscription for a song a month. They then released the songs in vinyl and people still purchased them.

I recently did a post about an R&B artist who uses Spotify listening data to organize tours and making some good coin around it.

So what are you waiting for.

You have the tools, it’s time to find the business model that fits.