Speaker 1: Ready twenty seventh day of March twenty twenty six, allegedly
Speaker 1: according to that thing we call a calendar, and this
Speaker 1: is the live o'celly effect. Anyway, I know we're competing
Speaker 1: with other live shows, and some of them are on
Speaker 1: video and all that good stuff. So you're probably catching
Speaker 1: the podcast later on. But if you are hearing us
Speaker 1: live just after eight pm Eastern, about eight oh five
Speaker 1: pm Eastern here on the twenty seventh day of March
Speaker 1: twenty twenty six, we're live, and that means you can
Speaker 1: call in at three one nine five two seven five
Speaker 1: zero one six. And I got to tell you my
Speaker 1: energy is low. I've had a rough week. We didn't
Speaker 1: put out anything really except I did my three hours
Speaker 1: on Monday morning, which I'm trying to do is best
Speaker 1: I can. Was a weird experience. We had a guest
Speaker 1: on AM week up. I did have plans for shows
Speaker 1: this week, but you know what, other things took precedence,
Speaker 1: so I had to do a few things. I had
Speaker 1: an evaluation for traumatic brain injury, etc. So you know what,
Speaker 1: it was a weird week that along with physical therapy,
Speaker 1: along with quite frankly nobody's well that interested in the
Speaker 1: shows I do, So what am I supposed to do
Speaker 1: at this point? You know, the people that support this show,
Speaker 1: they participate in the Friday night show a little bit,
Speaker 1: and that's all that's left. Even Larry Hancock doesn't get
Speaker 1: that much of a response out of you guys, and
Speaker 1: we're blessed to have him every other week for whatever
Speaker 1: it is he chooses to analyze anyway, it is what
Speaker 1: it is, and if I see some kind of support tonight,
Speaker 1: I'll put out a Saturday news show this week, for sure.
Speaker 1: But I don't know what else to do. I got
Speaker 1: bills coming up, I got little support. I'm about to
Speaker 1: be fifty four years old. I mean, you know, I
Speaker 1: want to try this for at least one more year,
Speaker 1: but I'm not sure if I should give up. And
Speaker 1: I'm just speaking out loud for the first time about this,
Speaker 1: but I don't want to do that. Hell, I'd love
Speaker 1: to find a format in which I could at least
Speaker 1: serve a good and solid purpose, but nobody wants a
Speaker 1: divergent analysis. You want either Fox News or you want
Speaker 1: the liberal crap, and you don't want to hear anything else.
Speaker 1: And the liberal crap, I mean, I Chase those people
Speaker 1: away a long time ago. Despite what Jimmy James thinks.
Speaker 1: He thinks I only listened to liberal news. And that's
Speaker 1: why when I said, are we getting you know, the
Speaker 1: general we in the world last week? Are we getting it?
Speaker 1: I had to stop him from yelling at me all
Speaker 1: of you listened to is crap news because he doesn't
Speaker 1: understand I listened to his garbage along with the other garbage,
Speaker 1: and then I do independent research and he's typical by
Speaker 1: the way of what I got left here. So anyways,
Speaker 1: between that, my friend b Pete, Mike Swanson, what I
Speaker 1: can count the other two of you on one hand.
Speaker 1: Three maybe, But I know everybody's getting squeezed and it sucks,
Speaker 1: and his whole thing sucks. This whole situation we find
Speaker 1: ourselves in and the pain is about to actually set in,
Speaker 1: But nobody wants to hear my analysis or tell you
Speaker 1: about it, or tell you about the hopeful fact that
Speaker 1: maybe McDonald's will lower its prices in this coming month.
Speaker 1: You know, not because I'm a big fan of McDonald's,
Speaker 1: but because it's an indicator in the economy. It's sort
Speaker 1: of like that pizza thing around DC. It's got ramifications
Speaker 1: outside of itself. But again, you don't want this sort
Speaker 1: of content, So anyway, open lines three one nine five
Speaker 1: two seven five zero one six. I'm not even gonna
Speaker 1: argue anymore. Whatever nonsense, stupid thing or ill informed whatever,
Speaker 1: Just come on say it, do it. I'd love to
Speaker 1: hear from some different people. I know a couple other
Speaker 1: people listen to the show, but I don't know if
Speaker 1: anybody's catching us live. I really don't anymore outside of
Speaker 1: what Jimmy Danny one guy in Florida, you know, did
Speaker 1: all my good callers die? Is that? Is that where
Speaker 1: we're at now? Anyway, that's how I feel this week.
Speaker 1: I don't know how you guys feel, but you can
Speaker 1: call in three one nine five two seven five zero
Speaker 1: one six if you even want to bother or you're
Speaker 1: listening on a Friday night. Three one nine five two
Speaker 1: seven five zero one six. This is the way to
Speaker 1: ocelli iff that goes when I'm in a really great mood.
Speaker 1: Plus you know I get evaluated nicely. That always helps.
Speaker 1: But three one nine five two seven five zero one six,
Speaker 1: and there you go. Be Pete, how's your week been?
Speaker 1: I know we talked about pollen right before going live.
Speaker 1: And I know that sucks because I talked to my
Speaker 1: daughter and she told me how the pollen was killing her.
Speaker 1: And she doesn't live too far from you. But you know,
Speaker 1: what else is up besides pollen? Or by the way,
Speaker 1: tell us about the pollen. Whatever you want, be pete,
Speaker 1: it's you know, please speak up, say something, do something.
Speaker 2: Well. I you know, everybody deals with it when it
Speaker 2: comes springtime. But for some reason down here in the South,
Speaker 2: it seems like every growing thing puts out five times
Speaker 2: each day during the month of March and April. But
Speaker 2: first of the week, I was helping somebody clear out
Speaker 2: an area behind their garage that had grown up for
Speaker 2: about ten twelve years. And it was small trees in
Speaker 2: that and I went to cut a tree, probably I
Speaker 2: don't know, twenty five foot high inches around in the trunk.
Speaker 2: I cut the tree and as it dropped, the outline
Speaker 2: of the tree in yellow stayed in one place, and
Speaker 2: the tree dropped, and then the wind caught it and
Speaker 2: blew it all back towards me. It was this year.
Speaker 2: I don't know if it was because of the lack
Speaker 2: of rain in the winter. I don't know what's causing
Speaker 2: the pollen outbreak as bad as it is, but it
Speaker 2: is really terrible, and thank god we're supposed to get
Speaker 2: rained tonight starting about eleven o'clock until tomorrow morning and
Speaker 2: washed this crap away because it's been hell. I took
Speaker 2: a mode yesterday. Had a bunch of leaves in the
Speaker 2: backyard that I didn't get up the fell over the wintertime,
Speaker 2: so I went ahead and mounched them with a mower,
Speaker 2: and when I got done, I spent fifteen minutes with
Speaker 2: an air compressor trying to blow the pollen off of me.
Speaker 2: It's really bad this year, more so than ever. So
Speaker 2: I'm in hacking and stuffed up and sneezing, and I
Speaker 2: hit a sneezing spell yesterday for about ten minutes straight.
Speaker 2: And then once we start getting some regular rain and
Speaker 2: April comes in, this stuff all goes away. So you know,
Speaker 2: it's just two months of living hell we got to
Speaker 2: put up with here in the South. I know it's everywhere,
Speaker 2: but it just seems like here in the South we
Speaker 2: have much a more concentrated amount of it every year.
Speaker 2: But other than that, it's been a very successful week
Speaker 2: and I'm trying to figure out how I can go
Speaker 2: online at one o'clock in the afternoon today and order
Speaker 2: a mower belt for a guy that wants me to
Speaker 2: get his mower back in condition to run and have
Speaker 2: it here tomorrow morning by nine o'clock. But if I
Speaker 2: mail a letter, it may take two weeks to get
Speaker 2: to wherever the hell it's going. It's just amazing. I
Speaker 2: don't know where this Amazon delivery facility is, but they
Speaker 2: just gave me a notice thirty minutes ago that my
Speaker 2: product's already shipped and it's supposed to be here by
Speaker 2: nine am. Okay, get a letter. If I'd live six
Speaker 2: blocks from downtown, if I send a letter or my
Speaker 2: water bill payment in that's six blocks, it takes almost
Speaker 2: a week and a half two weeks to get there.
Speaker 2: It's amazing.
Speaker 1: Well, see, this is why the Post Office is crying
Speaker 1: and wants to raise prices, and they want to put
Speaker 1: a temporary eight percent raise on everything right now.
Speaker 2: But people they're talking about going up to almost what
Speaker 2: a ninety five cent for a first class stamp.
Speaker 1: Yeah, right, But this is the problem that people don't
Speaker 1: don't want to get right, and especially since the guy
Speaker 1: was brought in under Trump and stayed all the way
Speaker 1: through Biden. I think he might even still be there.
Speaker 1: He might not. I don't know. The Postmaster General who
Speaker 1: really was there to try and set things up to
Speaker 1: be privatized. He amplified the problem with Amazon. See Amazon
Speaker 1: uses the USPS IS, you know, better systems in order
Speaker 1: to make things travel. Then Amazon augments it with gigwork.
Speaker 1: So they pay like Amazon drivers to make some deliveries
Speaker 1: for a day or whatever. Okay, and you got to
Speaker 1: scan them in, scan them out. That's how you get paid.
Speaker 1: But they're picking them up from postal facilities. So this
Speaker 1: is the problem. You got speed because Amazon adds on
Speaker 1: just a little bit to this good deal they have
Speaker 1: with the post Office. They're paying a better rate because
Speaker 1: of the massive volume. Like basically, if it wasn't for
Speaker 1: Amazon right now, the post Office would be out of
Speaker 1: business because a whole lot of what they're doing is
Speaker 1: sending packages around. Now when it comes to mail people,
Speaker 1: there's all kinds of crazy happening, and like we have
Speaker 1: stuff that they market delivered and it's not delivered. We
Speaker 1: have stuff that has disappeared, We got stuff being ripped open.
Speaker 1: And it's not just a local problem, you know, because
Speaker 1: I go and I find out around the country from
Speaker 1: people that I know that you know, actually have things
Speaker 1: coming in and out of their houses because most people
Speaker 1: don't even bother with the regular mail anymore. They're they're
Speaker 1: doing most business and most other things that are important
Speaker 1: without mail, right unless they get a birthday card. And
Speaker 1: who the euse ends a birthday card anymore, you know
Speaker 1: what I'm saying. So it's not a priority. Your your
Speaker 1: letter is not a priority. Your stamp's not a priority.
Speaker 1: Amazon is, and a whole lot of other companies are
Speaker 1: doing the same thing. These drop shippers, you know, they
Speaker 1: basically have warehouses that are positioned and then they use
Speaker 1: the most expedient method that the Post Office has so
Speaker 1: guaranteed there's a couple of you know, Amazon warehouses that
Speaker 1: are stocked with stuff and have robots and a few
Speaker 1: people in there that have to move around and you know,
Speaker 1: get things out quickly and this and that and packaging fast.
Speaker 1: And that's why they were peeing in bottles because their
Speaker 1: bathroom brakes could get them fired and all that. So
Speaker 1: there's probably a couple of those around North Carolina. They
Speaker 1: shove it into the ups through the priority system, which
Speaker 1: could have up to two delivery setups every single day
Speaker 1: going from place to place as opposed to the one
Speaker 1: that your leto traveled through. And then if that's not
Speaker 1: quick enough, if it's going to take till the next
Speaker 1: day for the post office to grab at, Amazon will
Speaker 1: dispatch gig workers. Hey, you want to go earn ten bucks,
Speaker 1: here you go. You want to go earn five bucks,
Speaker 1: here you go. And they package them together so that
Speaker 1: you know, just your package isn't what they got paid for.
Speaker 1: They got a you know, a boatload of packages in
Speaker 1: the back of their suv, their van, their car, whatever.
Speaker 1: They got twenty thirty packages that they pick up in
Speaker 1: one shot that goes to one neighborhood and it's done.
Speaker 1: So they've used the infrastructure. You know, they've used the
Speaker 1: infrastructure and then simultaneously, you know, augmented it. And that's
Speaker 1: what a whole lot of these things have done. Right.
Speaker 1: You know, if you if you buych some them through eBay,
Speaker 1: you're going through the regular post office. Yeah go ahead.
Speaker 2: Yeah, Well, I was gonna say, your guy, because we
Speaker 2: I remember I was discussing to Joy back when Trump
Speaker 2: was in his first term. He left in March of
Speaker 2: last year, and we had an interim for a few months,
Speaker 2: and the new one is David Steiner. He's been there
Speaker 2: since July fourteenth of last year, so we do have
Speaker 2: a new Postmaster General.
Speaker 1: Okay, that is a whole lot of long term damage
Speaker 1: from the joy though, because that guy.
Speaker 2: Well, part of the damage that was done was the
Speaker 2: post Office branching into other stuff, you know, twenty years
Speaker 2: ago when they started selling you know, they've always sold
Speaker 2: stamps to collectors, and a few people that I've known
Speaker 2: over the years have been stamp collectors and are really
Speaker 2: into it. But the Post Office really started getting into marketing,
Speaker 2: selling coffee cups and collector stamps and collector envelopes and
Speaker 2: collector stationary all this, I mean, rain gear and umbrellas,
Speaker 2: and it's like, dude, you're here to deliver the mail,
Speaker 2: not turn it into a commercial target store, which started
Speaker 2: some of their problems. They've had problems with the postal
Speaker 2: unions trying to keep up with the you know, increase
Speaker 2: in pay and costs, and then trying to you know,
Speaker 2: being fraught at every turn for trying to automize, to
Speaker 2: automatize a lot of stuff. It's just it's been a
Speaker 2: downward spiral. You know, when ups and FedEx started, they
Speaker 2: didn't really see it as competition. But when they found
Speaker 2: out that they could do it more economical and faster
Speaker 2: than that really started putting the Post Office in a hurt,
Speaker 2: you know. And then and then we have you look
Speaker 2: at the years that they were sponsoring Lance Armstrong while
Speaker 2: he was cheating at the bicycle race for seven you
Speaker 2: know championships. It's just crazy our government, I don't know.
Speaker 2: The Post Office to me is emblematic of what's wrong
Speaker 2: with our government. They've gotten too big, they've gotten too slow,
Speaker 2: they've gotten too expensive to do what it is that
Speaker 2: they're mandated to do. And it's been an ongoing problem.
Speaker 2: I know there were a lot of problems when Trump
Speaker 2: put his guy in there, but he's just another one
Speaker 2: that's had nothing but a bunch of problems.
Speaker 1: But if you're going to aim to privatize and see
Speaker 1: that's the thing, I think it's a big distraction. The
Speaker 1: merchandising thing, I think that's barely even relevant because it
Speaker 1: wasn't all that costly the crap they pulled, you know,
Speaker 1: because they already had printing, they already manufactured stuff. It's
Speaker 1: sort of like, you know, the vehicles. Oh, the vehicles
Speaker 1: are a waste. They're not. They're the most efficient thing possible.
Speaker 1: The people are sometimes a wasteoid I see that. You know,
Speaker 1: even the postmaster doesn't seem to be so bright half
Speaker 1: the time. But I mean it's it's a mess because
Speaker 1: of this problem not keeping up with things. They they
Speaker 1: and here's the they participated in their own destruction. Like
Speaker 1: I told you you got Amazon utilizing their infrastructure. Well
Speaker 1: guess who else has utilized their infrastructure a little bit?
Speaker 1: UPS doesn't deliver everywhere. See, this is the drawback to
Speaker 1: your UPS, your FedEx, right, and yeah, sure there is
Speaker 1: a place for both the private and the public enterprise here.
Speaker 1: But what's happened is it's not about efficiency. I mean, police,
Speaker 1: they can upgrade and make anything efficient they want, regardless
Speaker 1: of you know, people resisting because it's going to cost jobs.
Speaker 1: That's not a big deal. I don't know why that's
Speaker 1: not getting done because every time I look at those arguments,
Speaker 1: there are convoluted political footballs there that don't really speak
Speaker 1: to the reality of the situation. You know, the infrastructure
Speaker 1: that is existent, even if it is the forty year
Speaker 1: old or fifty year old infrastructure and hasn't been updated,
Speaker 1: should still outpace your UPS facilities. UPS has had to
Speaker 1: make cuts and drawbacks and everything else. Every time an
Speaker 1: economic wave changes. UPS must adjust. The Post Office doesn't
Speaker 1: have to. And at certain points they should have been
Speaker 1: able to make a surplus and at other points not.
Speaker 1: And then here's the thing. They don't need to make
Speaker 1: a profit. There's the issue. You got to keep them flush,
Speaker 1: not you know, profit making. And the joy is a
Speaker 1: private you know, is a private mailing guy. And so
Speaker 1: you mean to tell me the private mailing guy couldn't
Speaker 1: do it. The government employees can't do it. Everybody they
Speaker 1: put in there can't do it. So it is obviously
Speaker 1: a bureaucratic issue. It's obviously an inability to move along
Speaker 1: with the times. You know, they have all the scanners
Speaker 1: now and everything else. But as I was trying to
Speaker 1: explain with them, you know, scanning things and claiming they
Speaker 1: delivered things and everything else, you obviously got people beating
Speaker 1: the system. You know, they're punching out and saying they
Speaker 1: did their work when they didn't do it. And they're
Speaker 1: getting away with it because guess what, there's some cheap
Speaker 1: tracking stuff that could be used in order to track
Speaker 1: the trucks and the mail and everything else that they're
Speaker 1: not using, you know. So there these are idiotic upgrades
Speaker 1: not being made well, and idiotic upgrades being got too well.
Speaker 2: Another thing that you got too is this contract delivery
Speaker 2: for postman. It's been it's probably been twenty years since
Speaker 2: I lived somewhere that had an actual mailman that worked
Speaker 2: for the Post Office to deliver the mail. Since then,
Speaker 2: it's been these contract deliverers that are driving around in
Speaker 2: private vehicles because I've been living, you know, out in
Speaker 2: the counties, in rural areas, and you don't have regular
Speaker 2: mailmen out there anymore. They're all contract delivery guys. They're
Speaker 2: driving their own cars and getting paid so much a
Speaker 2: mile to getting paid so much an hour. And they're
Speaker 2: closing facilities. I know where when you were here in Kinston,
Speaker 2: Kenson used to be a major mail facility, but then
Speaker 2: they shifted to Greenville and to newbern and pulled it away.
Speaker 2: They closed post offices in pink Hill, they closed post
Speaker 2: offices in Albertson, they closed post offices and seven Springs.
Speaker 2: Everything got sent to Lagrange. You know, they tried, they
Speaker 2: tried redesigning the system, and getting rid of some waste,
Speaker 2: and it just slowed the process down and slowed it
Speaker 2: down to where now you know that We just had
Speaker 2: a Supreme Court hearing about mail in ballots and a
Speaker 2: couple of the justices were arguing, well, why are we
Speaker 2: allowing so much time after election day? We have certain
Speaker 2: things in government where they say election day, this day,
Speaker 2: that day, it being that day. Some states allow damn
Speaker 2: near twenty one days to a month after election day
Speaker 2: to receive mail in ballots and with a slow as
Speaker 2: the mail services gotten, you know, Florida, three hours after
Speaker 2: election is done, they can tell you who won.
Speaker 1: See but but there you have it?
Speaker 2: What is it?
Speaker 1: But there you have it?
Speaker 2: It takes what three weeks?
Speaker 1: When you know how many mail in ballots are supposed
Speaker 1: to show up, you can make a prediction, right, I mean,
Speaker 1: you know, if there's not enough mail in ballots to
Speaker 1: close the gap, then there isn't. But the fact is,
Speaker 1: like you just said, because of the post Office, you
Speaker 1: have to allow extra time because there is slippage in this.
Speaker 1: I've bet people mail me things and they show up
Speaker 1: way later than they ever imagined, you know, And I've
Speaker 1: mailed stuff to them. I've had things disappear trying to
Speaker 1: mail them to Jimmy James. That's a whole other weird thing,
Speaker 1: you know what I'm saying.
Speaker 2: I have no Yeah, I've had places. Yeah tell me. Look,
Speaker 2: if you're going to send this by mail, you need
Speaker 2: to do it two and a half weeks before it's due,
Speaker 2: just to ensure that he gets here before the due date. Yeah,
Speaker 2: you know things like that. Yeah, it's crazy.
Speaker 1: So if you try and apply that to voting, I
Speaker 1: mean that's some because you're making people vote way in
Speaker 1: advance and others. Okay, I was just gonna get to
Speaker 1: Danny in California, but he was on the line. But
Speaker 1: this is some bs because people are disappearing, you know,
Speaker 1: just not participating with mail and stuff because it's like
Speaker 1: can I avoid the mail? You know. So I don't
Speaker 1: know if there needs to be a proper public and
Speaker 1: private partnership here, because the rural thing you're describing sounds
Speaker 1: logical to me, you know, like they're doing the right thing,
Speaker 1: but they're probably not doing it the right way with
Speaker 1: those private contractors because in a rural area where you
Speaker 1: have a reduced population, yeah, it kind of makes sense
Speaker 1: to hire an independent driver and not have a full
Speaker 1: fledged facility, but you could have sort of a way station,
Speaker 1: you know what I mean where you know, it's a
Speaker 1: small building, it's a shack whatever. It takes care of
Speaker 1: a county, you know what I mean. And it's not,
Speaker 1: you know, not much bigger than one of the I mean, please,
Speaker 1: there's plenty of these strip mall areas that are available
Speaker 1: that nobody's using for commerce. I'm sure there could be
Speaker 1: an arrangement made, you know, or listen, we used to
Speaker 1: build a whole gas station convenience stores, real cheap, prefabricated.
Speaker 1: Somebody wanted to design that that would be worth an
Speaker 1: investment to create, like a universal kind of mail hub
Speaker 1: that could be mostly automated. Problem you've got, yeah, go ahead.
Speaker 2: Another problem you've got. That's like some of the like
Speaker 2: Amazon ups places like that. Like if you have a
Speaker 2: post office box here where I live, if you have
Speaker 2: a post office box, those some of those companies will
Speaker 2: not deliver to your physical address right because you've got
Speaker 2: a post office box, correct. But here, something can come
Speaker 2: into our post office from one of those company. He
Speaker 2: gets sent from there thirty miles away to a processing center,
Speaker 2: even though it was in this town in these city limits.
Speaker 2: He gets sent thirty miles away as soon as he
Speaker 2: gets there to be reprocessed to be sent out to
Speaker 2: be delivered. So you put in another day to two
Speaker 2: days in there on top of that where something gets
Speaker 2: shuffled around and then eventually it winds right back up
Speaker 2: where it was two days ago. But it couldn't be
Speaker 2: delivered from the local office. It had to be delivered
Speaker 2: from the distribution office, which is thirty miles down the road.
Speaker 2: It's just it's confusing the way the mail system works
Speaker 2: in some areas. I just don't understand it well.
Speaker 1: Because again it's got to be based on population, and
Speaker 1: you have to be flexible so that when the population shoot.
Speaker 2: Because those contract drivers, those contract drivers pick up their
Speaker 2: stuff from the distribution center thirty miles down the road,
Speaker 2: not from the local.
Speaker 1: Post office, we'll be seen.
Speaker 2: So that's why they have to once it HiT's here,
Speaker 2: it gets sent to Greenville. They have to go to
Speaker 2: Greenville to get what gets delivered here instead of it
Speaker 2: coming out of the local office six walks away.
Speaker 1: See. But that's why I mentioned public and private partnership,
Speaker 1: because all you got to do is create like a
Speaker 1: closet space in any one of those local post offices,
Speaker 1: right and simply rent it to UPS. It doesn't have
Speaker 1: to be massive. But UPS has like a drop off module,
Speaker 1: you know what I'm saying. It's sort of like a
Speaker 1: almost like a video store when you add a night drop,
Speaker 1: you know, and you could set it up so that
Speaker 1: Amazon can basically drop stuff off, right, I mean through
Speaker 1: a lock box, let's just say, or something like that
Speaker 1: where they got to have a key card, right, and
Speaker 1: they open it up and boom, they just you know, unload,
Speaker 1: or they have an automated palid jack that comes and
Speaker 1: grabs a palid worth of stuff and throws it in there.
Speaker 1: Now you have a UPS one, you have a Federal
Speaker 1: Express one, and these are only a little tiny like
Speaker 1: storage at the post office. The post office doesn't even
Speaker 1: have to be involved. They can just charge a little
Speaker 1: bit of rent, right, and then your local guys that
Speaker 1: go to pick stuff up, I mean, please, with smartphone technology,
Speaker 1: they're using a smartphone to get there to get their
Speaker 1: gig probably, so they use the same smartphone to scan
Speaker 1: a QR code. Boom. I can open it up today,
Speaker 1: and here's what I'm supposed to take. You know what,
Speaker 1: I mean, I don't think it's that difficult to automate
Speaker 1: that and set it up and have it so that
Speaker 1: you have a central mailing hub that covers the public
Speaker 1: and the private, and like I said, just charge you
Speaker 1: PS and Federal Express some rent. I mean, if you
Speaker 1: rent you know, fifty thousand closets across the country, it'll
Speaker 1: add up. There's a revenue stream right there. I mean,
Speaker 1: I'm just saying this is a revenue stream without involving
Speaker 1: new people. And these private companies can install their damn technology,
Speaker 1: so you know, they can even do the renovations. Maybe,
Speaker 1: I mean, or maybe there is something that already exists
Speaker 1: in a post office, because it looks to me like
Speaker 1: there's wasted space at a lot of post offices. Have you
Speaker 1: noticed that, like physically.
Speaker 2: Well, yeah, a lot of them. It depends on how
Speaker 2: many boxes they actually have rented out compared to how
Speaker 2: many they have. A lot of those boxes are sitting
Speaker 2: there drawing cob webs, you know, or town I live in,
Speaker 2: eight hundred people, you know, I doubt that half of
Speaker 2: those post office boxes are rented. I mean, it's convenient
Speaker 2: for some people to have their stuff go to a
Speaker 2: post office box. No well, you don't have to worry
Speaker 2: about checks getting stolen as much as somebody just pulling
Speaker 2: one out of your mailbox when you're not home and
Speaker 2: things like that. But you know, our town of eight
Speaker 2: hundred people, I would think our post office could be
Speaker 2: more phisient than it is. It's not that huge. It's
Speaker 2: the demand is not there, you know, to make it
Speaker 2: a problem. But you know Amazon. I used to talk
Speaker 2: bad about Amazon, especially when they got in the NFL
Speaker 2: or on Thursdays pulled off a broadcast TV that really
Speaker 2: kissed me off. So I bought my membership. But I'm
Speaker 2: gonna be honest with you for what it takes me
Speaker 2: to travel thirty miles down the road to go to Walmart,
Speaker 2: or to go to Low's, or to go somewhere. I'll
Speaker 2: give you an example. I needed chainsaw replacement chain for
Speaker 2: a chainsaw. I got a Loa's where I bought the
Speaker 2: chainsaw replacement is twenty five dollars. I go on Amazon,
Speaker 2: I could get two for fifteen bucks. Oregon Chains the
Speaker 2: number one chain manufacturer in the US, to an excellent
Speaker 2: piece of equipment, and I had them the next day.
Speaker 2: The very next day, by ten o'clock in the morning.
Speaker 2: You know, it's just amazing what Amazon can do. So me,
Speaker 2: I do my shopping online Now. It costs one hundred
Speaker 2: and thirty bucks for a membership, but I haven't paid
Speaker 2: shipping in any order I've made in the past eight months.
Speaker 2: And I get to watch Thursday night football through my
Speaker 2: membership because it's on Amazon Prime.
Speaker 1: Let me cue you into something, though, you could probably
Speaker 1: get that that membership cheaper that Prime membership.
Speaker 2: Yeah, I know now that I'm now that I'm old,
Speaker 2: well can get a discount. Now.
Speaker 1: I wasn't gonna say I got it.
Speaker 2: I wasn't. I wasn't of the magic age. But now
Speaker 2: that I am, damn straight, I'm going to hit next
Speaker 2: year when it comes for new ale time, it's going
Speaker 2: to be less.
Speaker 1: Yeah, but you may have more than one reason to
Speaker 1: get it cheaper, like you get package deals where your
Speaker 1: Amazon Prime comes down to like I've heard of people
Speaker 1: paying six dollars a month for it, you know what
Speaker 1: I mean, if you have a couple of different like
Speaker 1: discounts on it. So because they don't care it's by volume,
Speaker 1: you know what I mean, They're happy to take you
Speaker 1: with your you know, one hundred and thirty dollars or
Speaker 1: whatever a month. But they're also happy to take people
Speaker 1: in six dollars a month because it all adds up
Speaker 1: and all the business comes up.
Speaker 2: They're going up till one hundred and seventy now whatever
Speaker 2: it is, every well, everything, everything is up.
Speaker 1: I mean, look, and I can't even figure out how
Speaker 1: to watch the Mets. By the way, I know they
Speaker 1: were on broadcast TV for Opening Day, but I couldn't
Speaker 1: get NBC. I don't know why, uh, but but anyway,
Speaker 1: I couldn't watch them. So I had to watch the
Speaker 1: highlights as they were released on YouTube, trying to follow
Speaker 1: the Mets. But I'm gonna just.
Speaker 2: A little trick. You need to check YouTube today of
Speaker 2: the games because a lot of guys will shadow broadcasts
Speaker 2: on their YouTube channel. That's how I watch a lot
Speaker 2: of these college games that aren't on brought that are
Speaker 2: on ESPN or something. I mean, they've got a lockdown
Speaker 2: a lot of stuff. Now go to you, somebody is
Speaker 2: more Mets games, then you think you'd be able to well.
Speaker 1: You know what the problem is, though, I went I
Speaker 1: did that with the World Baseball Classic, right and uh,
Speaker 1: and I was watching a couple of those games were
Speaker 1: great uh, and and I watched part of them, and
Speaker 1: then Major League Baseball shut it down a couple of times.
Speaker 2: So you know, people had ye, they'll catch a mid
Speaker 2: stream and you got to go find another channel.
Speaker 1: Yeah, but I went to go find other channels and
Speaker 1: it was like they got them all off. But YouTube, Blake,
Speaker 1: I was pissed. You know, I'm like, damn it. I
Speaker 1: was getting into this and now.
Speaker 2: The NC Double A does that. The football games, you
Speaker 2: might be halfway through the second quarter, you got to
Speaker 2: go find another channel because somebody just got bopped.
Speaker 1: Yeah, well I tried.
Speaker 2: Tonight we're watching uh. Tonight, we're watching Duke taking on
Speaker 2: Saint John's in the NC Double A basketball tournament. It's
Speaker 2: been a good game so far.
Speaker 1: Well, look, if anybody finds you know, God helped me.
Speaker 1: I doubt anybody listening to me is gonna care or
Speaker 1: help me out or even be remotely interested. But if
Speaker 1: you happen to encounter a Mets stream, go ahead and
Speaker 1: send me a message on X And if I'm not
Speaker 1: live doing something, believe me, I will go find the
Speaker 1: bootleg stream uh and go watch it with you, because
Speaker 1: I do want to see some games. But for the
Speaker 1: home openers. Sadly, I had to watch the highlights as
Speaker 1: they were coming out, so it was kind of It
Speaker 1: was kind of good though, because first inning provided us
Speaker 1: with some highlights right away, and they were out like
Speaker 1: maybe a twenty minutes half hour later. I'm thinking, yikes. Anyways,
Speaker 1: and they knocked Skeens out in the first inning. I
Speaker 1: was happy with that because you know, cy young guy,
Speaker 1: he's going to come in blow the Mets away, and yeah,
Speaker 1: that didn't work out so good. They knocked him out
Speaker 1: two thirds of an inning. He got through and he
Speaker 1: had to have.
Speaker 2: That problem with hockey. Trying to watch a hockey game,
Speaker 2: Carolina game or Hurricanes trying to get them. You can
Speaker 2: join their membership streaming for the NHL, you know, every
Speaker 2: it's it's you know, the NFL came out with NFL
Speaker 2: Prime a while back, or what they call NFL Game Day,
Speaker 2: which is their subscription service, and a lot of the
Speaker 2: NCAA colleges have gone to ESPN. Some of them have
Speaker 2: contracts with CBS Hockey. You pretty much have to if
Speaker 2: you want to watch your team play, you're gonna have
Speaker 2: to get a streaming service through the NHL to watch
Speaker 2: your team. A sucks. Everybody wants to stream their stuff
Speaker 2: in charge a fortune for it. At one time I
Speaker 2: figured out for me to watch football, it was it's
Speaker 2: gonna cost me three hundred dollars a season, right, which
Speaker 2: is more than what my you know, than getting ESPN
Speaker 2: on cable. So I could have broke down and got cable.
Speaker 2: I said, now, hell, and I'll stick with my broadcast TV.
Speaker 2: I get about thirty channels just off of antenna.
Speaker 1: Yeah, I got it. I still gotta go get an antenna,
Speaker 1: but I but either way, I can't afford the MLB thing.
Speaker 1: And you know, I thought I was gonna be all
Speaker 1: right because maybe I could listen on radio, but now
Speaker 1: they block out all the games, so I can't even
Speaker 1: go to like the free radio station or you know,
Speaker 1: it's so messed up. I can't. I can't watch this stuff.
Speaker 1: I gotta like just wait for the highlights on YouTube.
Speaker 1: That's all I'm gonna get from now on. Until I
Speaker 1: figured this out, But I did want to watch baseball.
Speaker 1: And what really sucked is Netflix turns around and has
Speaker 1: like opening nights on baseball, right, and they had they
Speaker 1: had to put a freaking Yankee game on, which if
Speaker 1: you're if you're like, if you're from the area I
Speaker 1: grew up in, you're you usually either are watching the
Speaker 1: Mets or the Yankees. You don't watch both, Okay, I
Speaker 1: can't stand the Yankees. Never could.
Speaker 2: The nice thing about being up there is there's a
Speaker 2: radio station that would at least carry the.
Speaker 1: Game, right, I could pull it out of the airs,
Speaker 1: even the away games, correct if I knew, And there
Speaker 1: would be a rare circumstance where it wasn't on that
Speaker 1: radio station, and you know where it was, It would
Speaker 1: be on like some sports network, so it would be
Speaker 1: on another radio station. You just had to find it.
Speaker 1: So you could literally listen to every game, even if
Speaker 1: you couldn't watch them all. And when I lived in
Speaker 1: the Northeast, frankly, I usually bought the you know, it
Speaker 1: was Sports Channel New York. You had to buy, okay,
Speaker 1: And then the Yankees came out with their own network,
Speaker 1: but Sports Channel New York you could buy it, and
Speaker 1: that gave you the Mets and what was it, the
Speaker 1: Mets and the Rangers and a couple of other like
Speaker 1: major sports teams that had exclusives with them where half
Speaker 1: of the games like would be on broadcast and half
Speaker 1: of the games would be on the specialty channel, you know,
Speaker 1: and occasionally there'd be one on like ESPN, and if
Speaker 1: you already had the cable to buy Sports Channel New York,
Speaker 1: then you were able to watch them all. But being
Speaker 1: down here, forget it. I can't even if I want
Speaker 1: to go to the free station right like the free
Speaker 1: station that I could pull out of the air in
Speaker 1: New York, it's blocked here. So based on my location,
Speaker 1: I can't get the met game that's being aired for
Speaker 1: free in Jersey, New York. If you can pick it
Speaker 1: up with an antanna, you got it, okay, which I
Speaker 1: find really disturbing that they did this. I get they
Speaker 1: did it to TV because people, okay, fine, But now
Speaker 1: even radio they're doing this with the locators because of
Speaker 1: the Internet. So you can't turn around and use your
Speaker 1: radio app like you can tune into art station anytime
Speaker 1: twenty four to seven on your radio app. And many
Speaker 1: other stations are out there for free. Some of them
Speaker 1: are broadcast you know, regular W or K depending on
Speaker 1: which side of the rockies they're on, right whatever. And
Speaker 1: you can listen to music for free, and you can
Speaker 1: listen to you know whatever. You just got to put
Speaker 1: up with the commercials. You can listen to sports talk
Speaker 1: whatever you want. You want to follow your conservative radio,
Speaker 1: you got it. You want to listen to WABC in
Speaker 1: New York, which is like all conservatives all day and
Speaker 1: occasionally they throw in one liberal to abuse for a
Speaker 1: little while. For a little while there, it was Alan
Speaker 1: Combs till he died. Then they had that Lynn Samuel's Chick,
Speaker 1: and maybe a couple others that ended up on the
Speaker 1: bu later, but they never lasted because it's all it's
Speaker 1: all guys, and it's all conservative all day, plus nut
Speaker 1: jobs like Curtis Leewa and w ABC. I can listen to.
Speaker 1: I can listen to the news station up there right.
Speaker 1: But I can't listen to and it's not just the Mets,
Speaker 1: it's I can't listen to Devil's games. I can't listen
Speaker 1: to Jets games. I can't listen to forget it because
Speaker 1: they're all blocked. And I don't know why they're blocking it.
Speaker 1: You know, I'm in Georgia. Why would you block that
Speaker 1: for people in Georgia for Christ's sake?
Speaker 2: Because they want you to buy a subscription.
Speaker 1: Yeah, I get that.
Speaker 2: That's the money, that's the business. Now every thing is subscription.
Speaker 2: But here's yeah, yelling is white. You got to buy
Speaker 2: a subscription.
Speaker 1: But here's the thing, dude, if I got to buy
Speaker 1: a subscription for everything, and here's what's happened to a
Speaker 1: lot of podcasters that realized finally that they need to
Speaker 1: be on YouTube, which really puts me at a terrible
Speaker 1: disadvantage because if I try and launch a podcast on YouTube,
Speaker 1: I am like my perma band is permanent. I have
Speaker 1: a YouTube channel, but it's not officially a podcast channel.
Speaker 1: If I try to launch a podcast on YouTube officially
Speaker 1: and with the proper stuff and do it the right way,
Speaker 1: they will again strip away my personal channel. Okay, So
Speaker 1: I'm sorry, I.
Speaker 2: Don't understand, because you've got some people out there putting
Speaker 2: content out on YouTube that anybody else would have been
Speaker 2: blocked or banned for. And I don't know how. I
Speaker 2: don't know how how who are they paying to be
Speaker 2: able to stay on the air. I give you a good example,
Speaker 2: as camus owens o't know Hannah hell she stays on
Speaker 2: YouTube than the fact she's paying for it. No, it's
Speaker 2: not paying her one or the other.
Speaker 1: It's not a money thing. There are people and I know,
Speaker 1: as this is especially counterintuitive to people that think, oh,
Speaker 1: they only pick on conservatives in the media, you're lying
Speaker 1: to yourself. They allow the politically useful to go forward, okay,
Speaker 1: on these different platforms. They don't ban you, regardless of
Speaker 1: you even violating their terms of service, all kinds of
Speaker 1: things you do technically. But if you're not whitelisted, which
Speaker 1: is basically like you're not on a list of people
Speaker 1: that are allowed to get away with this. I don't
Speaker 1: know who makes the decision, but it is. It is
Speaker 1: not something that's cut based on your orientation or even
Speaker 1: your material and et cetera. To some degree, it is
Speaker 1: like you can't just go on there and threaten to
Speaker 1: kill people and stuff, you know, which is.
Speaker 2: Reasonable, and some of the stuff, some of the stuff,
Speaker 2: if I have heard, is just blatantly threats, and it's like,
Speaker 2: how in the hell they get away with it? But
Speaker 2: you look at look at the wait a minute, look
Speaker 2: at the neo Nazi, right, every one of them has
Speaker 2: their clips that are put on YouTube. Look at Pierce
Speaker 2: Morgan and the people that he has on and some
Speaker 2: of the stuff that they get away with it, it's allowed
Speaker 2: on YouTube. Tucker Carlson allowed on YouTube, Sean Ryan allowed
Speaker 2: on YouTube. Yeah, I mean these people one I know
Speaker 2: one is the amount of revenue that they bring in
Speaker 2: based off of clicks, plain and simple. These people have
Speaker 2: a lot of followers that people listen to how ridiculous
Speaker 2: it is that they put on there, but they have
Speaker 2: a set number of followers that are going to be
Speaker 2: there and give them a lot of them as bot generated.
Speaker 2: You can't tell me that somebody can have two billion
Speaker 2: people listening within five seconds of going on air start
Speaker 2: of Slayton. It's all bought driven. The majority of it
Speaker 2: is bot driven. It's not legitimate people out there listening
Speaker 2: to what hell they said. And you've got a list
Speaker 2: of people that are supposedly conservative that are getting away
Speaker 2: with this craft. You look at this new group that's
Speaker 2: out there that you know they're they're flipping the flipping
Speaker 2: the conserv it's all. It's all an op people. Money
Speaker 2: is changing hands because think about it, who owns you
Speaker 2: to Google? Google is letting these people get away with craft.
Speaker 2: Good buddy, back during COVID when everybody got wiped off,
Speaker 2: I mean years and years of work just done away
Speaker 2: with deleted mine included forever mine included exactly. And now
Speaker 2: you've got a group of people that are getting away
Speaker 2: with it now, and it's money changing hands, that's all
Speaker 2: it is. It's a money op and somebody's behind it,
Speaker 2: somebody's getting rich off of it.
Speaker 3: Well, if you talk a need right now, I finally
Speaker 3: cut off my history so that I could go and
Speaker 3: pick the stuff I wanted to watch on youtub tube
Speaker 3: instead of getting this constant feed of bullshit.
Speaker 1: Well, if you take a look at who bought these
Speaker 1: companies recently, that's where the change is taking place. In
Speaker 1: the past few years, very quietly, ownership changed hands here. Okay.
Speaker 1: There's no such thing as the liberal media. There's no
Speaker 1: such thing. These tech bros are not liberals, okay, and
Speaker 1: they have changed the equation unfairly in the other direction.
Speaker 1: Now they let the ridiculous liberals prattle on, but they
Speaker 1: don't get traction. And it's not just about the revenue
Speaker 1: generated from the clicks. Because here's the thing. They have
Speaker 1: bots that will turn around and clip you out and
Speaker 1: cut your channel off and put you aside before human
Speaker 1: being could have possibly made the decision, they simply turn.
Speaker 2: That brings up a story. Yeah, that brings up a
Speaker 2: story that I was going to talk about last week. Sure,
Speaker 2: a guy in North Carolina just got nailed in federal court.
Speaker 2: He went and created one thousand songs AI generated music, okay,
Speaker 2: and then went out and created a thousand bots to
Speaker 2: stream the music that he created something like eight million
Speaker 2: dollars worth of money that he pulled away from all
Speaker 2: I want to say spot On. I don't know which
Speaker 2: streaming service it was, but they finally the Feds took
Speaker 2: him to court and he got convicted from it. Now,
Speaker 2: this guy was smart. He creates the music out of AI,
Speaker 2: then cre uses AI to create the box to stream
Speaker 2: the music, and he's raking in eight million dollars before
Speaker 2: he finally gets nailed, which was pulling money from legitimate
Speaker 2: artists that were putting music out there that was supposed
Speaker 2: to be in the revenue sharing. The guy was brilliant.
Speaker 1: Well, see, here's the thing I would argue, he's not
Speaker 1: a damn dime from a legitimate artist. He's exploiting the system,
Speaker 1: but he's not taking a dime. Which artist is he
Speaker 1: taking money from? These are bots that are not going
Speaker 1: to buy the legitimate artist crap anyway, right, And this
Speaker 1: is music.
Speaker 2: Let me find the story.
Speaker 1: That legitimate people aren't. But you see what I'm saying,
Speaker 1: This is twisted, it's wrong because the truth is he
Speaker 1: exploited the system. There should be no criminal action against
Speaker 1: this guy because he exploited the system the way it stands,
Speaker 1: and quite frankly, yeah, it's unfair, it's ridiculous, but it
Speaker 1: shows exactly how ridiculous the whole thing is. I mean,
Speaker 1: if I was any kind of rock star right now
Speaker 1: and I had any sort of following, I would include
Speaker 1: extra bots in every single thing I did, just to
Speaker 1: pump up you know, why not hire a couple of
Speaker 1: guys to pump up my stuff? Which, by the way,
Speaker 1: that's how a lot of these podcasters have their stuff.
Speaker 1: They have bots, And there are people with armies of
Speaker 1: these things that haven't been busted because there are in
Speaker 1: other countries and whatever else. They haven't been taken down
Speaker 1: and you can just buy them. You don't know where
Speaker 1: they're coming from. They show up on VPNs, like right now,
Speaker 1: I could look like I have, you know, one hundred
Speaker 1: thousand listeners again like I used to legitimately have, and
Speaker 1: they weren't bots. I could get that in a second.
Speaker 1: If I could pay for it. I could have that tomorrow.
Speaker 2: Kay, here we go.
Speaker 1: You know what I mean?
Speaker 2: Well, and I think they explained in here how he
Speaker 2: was pulling money. It says federal prosecutors have secured a
Speaker 2: landmark conviction and what's being described as the first criminal
Speaker 2: streaming fraud case in US history, after a North Carolina
Speaker 2: musician admitted to orchestrating an eight million skeet and eight
Speaker 2: million dollar scheme powered in part by artificial intelligence. The
Speaker 2: guy's name is Michael Smith. He pleaded guilty to conspiracy
Speaker 2: to commit wire fraud in New York federal court. Let's
Speaker 2: see what he did. He generated thousands of fake songs
Speaker 2: using an artificial intelligence, and then streamed those fake songs
Speaker 2: billions of times, he says US attorney Jay Clayton. Although
Speaker 2: the songs and listeners were fake, the millions of dollars
Speaker 2: Smith stole was real. Millions of dollars in royalties that
Speaker 2: Smith diverted from real deserving artists and rights holders. Smith's
Speaker 2: brazen scheme is over stands convicted of a federal crime,
Speaker 2: and it says, according to the plea agreement, he agreed
Speaker 2: to forfeit more than eight million tied to the screen scheme.
Speaker 2: His prison sentence was expected to be in the range
Speaker 2: of forty six to fifty seven months, but they have
Speaker 2: he's dealt aside that it's sentencing, and I'm not sure
Speaker 2: when that is.
Speaker 1: You see how the hold on a second though, You
Speaker 1: see how they're not Actually they're full of shit, And
Speaker 1: that whole idea that he's taking money from a legitimate
Speaker 1: artist is bullshit too.
Speaker 2: He exploited the because these payments were from it says.
Speaker 2: The goal was simple, exploit the royalty system, where payouts
Speaker 2: are distributed from a shared pool by inflating plays and
Speaker 2: diverting revenue. Yes, apparently this money, well, but he's pulling.
Speaker 2: He was stealing money from people that should have gotten
Speaker 2: and for streams that they were getting, but because his
Speaker 2: streams were higher, he was getting more of the revenue.
Speaker 1: Yeah, of course, listen, but that again is exploitation of
Speaker 1: the system. If this guy doesn't enter the system, let's
Speaker 1: remember this part of it. If he doesn't enter the
Speaker 1: system at all, the streams don't go up either. See
Speaker 1: where they're full of shit. What is happening is the
Speaker 1: corporate criminals that have been robbing artists for decades are
Speaker 1: pissed off that somebody figured out how to beat him.
Speaker 1: That's what it is because there was always a pool.
Speaker 1: There was a collective artist pool that always was gathered together,
Speaker 1: and it was really sloppy, and it started to exist,
Speaker 1: I think in the nineteen seventies, and I was signed
Speaker 1: onto it as a professional music okay, And I'm telling
Speaker 1: you now, you know, I never got any revenue out
Speaker 1: of it. But it was a collective thing. Like even
Speaker 1: if they had, you know, like somebody had made bootleg material,
Speaker 1: but it was legitimate music and you had rights to
Speaker 1: it if you made payments from other countries and from
Speaker 1: US territories. If you made like if like if you
Speaker 1: were in Guam and you released like a live album
Speaker 1: okay on your own record label from an artist that
Speaker 1: you have no right to release from. If you made
Speaker 1: payments to this thing, the artist couldn't go after you.
Speaker 1: They would have to go after the book. I paid
Speaker 1: the legitimate artists fee over here, and you'd go draw
Speaker 1: your money out of that pool. That bullshit system that
Speaker 1: they allowed to prevail for about fifty years, okay, until
Speaker 1: very recently with this whole you know, digital new stuff
Speaker 1: was just a way to rob the artists anyway. So
Speaker 1: what I'm saying is, if he doesn't add the extra streams,
Speaker 1: let's stick to this point, though, think about it. They're
Speaker 1: gonna whine, you know, in favor of the corporate scumbags.
Speaker 1: But the point is that let's just say he adds
Speaker 1: eighty million listeners and eighty million streams to the system,
Speaker 1: and therefore he gets a big share. Oh, he takes
Speaker 1: out of the pool. But here's the thing. If he
Speaker 1: never creates the music in the pool, if he never
Speaker 1: dips into the pool, you see what I'm saying. He's
Speaker 1: not stealing from the artists. He's stealing from the bullshit
Speaker 1: system where they control what they're paying the artists anyway.
Speaker 1: And you want to hear these guys complain about the
Speaker 1: stream good.
Speaker 2: This is out of Department of Justice explains it.
Speaker 1: Yeah, fucking screams through.
Speaker 2: Music streaming platform Just listen, okay, go ahead. Each time
Speaker 2: a song is streamed through one of the streaming platforms,
Speaker 2: the songwriter who composed the song, the musician who performed it,
Speaker 2: and in certain cases other rights holders are entitled to
Speaker 2: small royalty payments. Royalty payments are made proportionately to the
Speaker 2: musicians and songwriters from a pool of funds. As a result,
Speaker 2: streaming fraud diverts funds from musicians and songwriters whose songs
Speaker 2: were legitimately streamed by real consumers to those who use
Speaker 2: automation to falsely create the appearance of legitimate streaming. So
Speaker 2: he was taking because the money is playing proportionally to
Speaker 2: actual artists.
Speaker 1: Uh huh, I get what you're saying.
Speaker 2: He was taking money from them, money that they would
Speaker 2: have gotten. He got because of the proportionality part of it.
Speaker 2: When you have a thousand songs and it's you know,
Speaker 2: a billion streams, Yes, you're taking money from those people
Speaker 2: who actually should have gotten it from the pool.
Speaker 1: Cool, okay, But here's the problem. He's also generating part
Speaker 1: of that pool, and that pool system, I'm trying to
Speaker 1: tell you, is illegitimate without this guy interfering with it,
Speaker 1: it is a good way for them to skim.
Speaker 2: And no, I understand. Look, I understand artists have been
Speaker 2: getting ripped off because of the money that the music industry,
Speaker 2: and it's changed a lot since a lot of artists
Speaker 2: have gone independent. I understand that.
Speaker 1: And here's the thing they're not telling you.
Speaker 2: From people who should actually be getting that money by
Speaker 2: making a fake song and fake box streaming it. Okay,
Speaker 2: it's taking because it is paid proportionally.
Speaker 1: Okay, I get that, But here's why I dispute it,
Speaker 1: because he's generating. Okay, here's the thing. Let's just imagine
Speaker 1: that there's a million dollars in this pool without this
Speaker 1: guy coming in, right, he doesn't touch it. There's a
Speaker 1: million dollars in there, and I assure you there's all
Speaker 1: kinds of chicanery, fake bullshit, extra publishing companies drawing out
Speaker 1: of this and fucking over the artists every which way
Speaker 1: you can imagine, because I know it for a fact
Speaker 1: that that's what happens with this pool. Anyways. This pool
Speaker 1: is based on that same pool system I told you
Speaker 1: about before. So here's the thing. There's a million dollars
Speaker 1: in there, no bots. The bots show up and generate
Speaker 1: more money into the pool. Okay, there's a way to
Speaker 1: do this so it doesn't really affect the artists because
Speaker 1: let's just say, out of that million dollars, you got
Speaker 1: an artist that's supposed to get.
Speaker 2: One hundred grand.
Speaker 1: Well, if these bots come in and triple the size
Speaker 1: of the money, right and create some phantom money into
Speaker 1: the pool and they turn it into three million dollars. Okay, fine,
Speaker 1: they steal a million dollars out of it, but they've
Speaker 1: still doubled the pool. This is the thing, This is
Speaker 1: the math that they're not showing us though. You see,
Speaker 1: this could actually be without harming the artists, but harming
Speaker 1: the system, which is based on a bunch of bullshit anyway.
Speaker 1: And that's why I'm telling you there is an equation
Speaker 1: here that doesn't mean that any money's being stolen from
Speaker 1: an actual artist because a fake artist showed up put
Speaker 1: fake stuff into it. You know what I'm saying. It's
Speaker 1: like it doesn't rob your bank account because somebody came
Speaker 1: in and stole cash out of the bank. It didn't
Speaker 1: rob your bank account. And in fact, if it shows
Speaker 1: that you know, somehow or other, they generated a whole
Speaker 1: bunch of BS money in the first place, they generferated
Speaker 1: counterfeit money, and then they drew part of the counterfeit
Speaker 1: money out. If they generate enough, the artists can actually
Speaker 1: benefit from the bots, and the bot can also take
Speaker 1: away money. The people that get hurt are these people
Speaker 1: that are trying to screw the people with these little
Speaker 1: tiny bullshit percentages that they're paying to utilize their music.
Speaker 1: See radio stations used to have things that they had
Speaker 1: to pay to be part of the collective that could
Speaker 1: play commercially released music. You know this about radio, right, So,
Speaker 1: but the thing is if I turn around and I
Speaker 1: create an artist that never plays anywhere, but somehow I
Speaker 1: also create those plays on that radio station. If I
Speaker 1: don't add any money into the system, then I'd be
Speaker 1: stealing from the other artists. But these bots also add
Speaker 1: money into the system. This is where the corporate scumbags
Speaker 1: are crying foul when they're the foul ones to begin with.
Speaker 1: I'm telling you it's it's a smoke screen. It's a
Speaker 1: little complex, but think about it. If you're able to
Speaker 1: add enough of these bots in quite honestly, every artist
Speaker 1: can benefit in the pool with enough bots. The only
Speaker 1: people that don't benefit are the people that are trying
Speaker 1: to squeeze it down to only paying a penny for
Speaker 1: a freaking stream.
Speaker 2: Yeah, but you're not going to benefit all the artists
Speaker 2: if they're not being streamed.
Speaker 1: Yeah, but they're not. Nobody's stopping you from streaming your
Speaker 1: favorite country artists on Spotify. Nobody's stopping real people from
Speaker 1: doing it.
Speaker 2: Saying is this. Let's say let's say you got a
Speaker 2: million dollars in the pool. Right, Let's say you have
Speaker 2: ano songs. Let's say the though for one song, you've
Speaker 2: got a writer, an artist, and a record label. Okay,
Speaker 2: so you think you break that one into thirds. Now,
Speaker 2: this guy creates a million more songs, and they're the
Speaker 2: ones that are getting streamed. He's cutting out those legitimate
Speaker 2: artists and people that have a share in the pool
Speaker 2: that existed. He hasn't created any more money. What he's
Speaker 2: done is create if he's created anything else more in
Speaker 2: the pool, he's siphoning off the top of it. And
Speaker 2: these guys, if you've got a million artists and a
Speaker 2: million songs and a million dollars in there, and let's
Speaker 2: say they all have one stream, they all get a dollar.
Speaker 2: But if he's sitting there taking if he's generating two
Speaker 2: million streams or three million streams, no money is being
Speaker 2: put back in there from his end of it, and
Speaker 2: he's taking it from people who had legitimate streams because
Speaker 2: it's all proportional. That's what I'm saying. Yes, it's screwed
Speaker 2: up system.
Speaker 1: Yeah, but we.
Speaker 2: Found a way to ciphon off eight million dollars off
Speaker 2: of just Ai and Box. He didn't even have to
Speaker 2: do a damn thing.
Speaker 1: Right, that's on the bots. Yeah, But what I'm saying
Speaker 1: is that with the right number, your equation doesn't work out.
Speaker 1: To take it away from the artists it because.
Speaker 2: Well, it certainly does work out, because he walked away
Speaker 2: with eight million dollars and it didn't put a dime
Speaker 2: in it other than creating the songs from Ai Okay,
Speaker 2: bots to go and stream at a billion dimes.
Speaker 1: Okay, but he walked away with eight million dollars. Do
Speaker 1: you know how much money you have to generate to
Speaker 1: walk away with eight million dollars as an artist? I mean, seriously,
Speaker 1: damn bit so generated into that piegent over a billion streams. Okay,
Speaker 1: But that's the thing, a billion streams. Okay. I know
Speaker 1: this is you're saying is true.
Speaker 2: Wait, if what you're saying is true, then all of
Speaker 2: those other artists should have made more money as well.
Speaker 1: Yeah they should exactly, Okay, but it didn't. But here's
Speaker 1: the thing. The reason why they're not making the more
Speaker 1: money is not because of this guy. Okay, let me
Speaker 1: let me, let me try and run into you this way.
Speaker 1: Do you know how old record sales worked? Because they
Speaker 1: still basically do the same damn thing to an actual
Speaker 1: artist who create something like.
Speaker 2: Yeah, because when when what Z? When Zeppelin came out
Speaker 2: with what was it? Their third album, they completely rewrote
Speaker 2: the system on what they were getting paid per unit,
Speaker 2: and everybody after that started going to the record the
Speaker 2: companies going hey, how the hell did they get this deal?
Speaker 2: They said, because that's what they demanded, and I think
Speaker 2: it was a polydor at the time. That's what they
Speaker 2: paid them. And they rewrote the whole industry on how
Speaker 2: people were getting paid through unit sales on albums. Yeah,
Speaker 2: Atlantic Jepplin broke the system for everybody else to allow
Speaker 2: them to make more money.
Speaker 1: Yeah. But see they're they're declared the heroes of the system,
Speaker 1: and yet they didn't do shit. Because here's what happened
Speaker 1: post Zeppelin. Okay, post Zeppelin. You ever noticed that there
Speaker 1: was all these rock bands in the eighties and nineties
Speaker 1: and they would have hit albums, two, three hit albums,
Speaker 1: and they'd be broke. You ever notice that? And everybody go, oh,
Speaker 1: they don't know how to manage their money. They didn't
Speaker 1: realize what it was they were getting paid on you
Speaker 1: as a consumer. See, let's just say you see a
Speaker 1: ten dollars price tag at the store, right, Let's just
Speaker 1: because the ten dollars is a nice round number to
Speaker 1: work off of. The artist who does not control their
Speaker 1: master recordings usually okay, But even if you do control
Speaker 1: your master recordings, you know, in your ray Charles all right,
Speaker 1: or your prints, you know, you still don't do well.
Speaker 1: But let's go with the typical situation here, because that's
Speaker 1: the majority of what Spotify's dealing with, where they're giving
Speaker 1: you ad revenue equal to the way that that freaking
Speaker 1: what do you call it? YouTube? Does you know where
Speaker 1: they run three million dollars worth of ads and you
Speaker 1: wind up with one hundred bucks?
Speaker 2: Okay, right, because back then, the majority of bands made
Speaker 2: money off of touring, not off of record sales.
Speaker 1: But you had to because at least you had control
Speaker 1: of that because the recording situation and publishing and everything
Speaker 1: else still works this way. Now they have annual meetings.
Speaker 1: By the way, this cartel okay, the EMI and the
Speaker 1: other publisher, major publisher ASCAP, they are getting pissed off
Speaker 1: because they're not able to rob the artists and rob
Speaker 1: the consumer like they always did. And it's the record
Speaker 1: companies that have lost control because of the independent distribution,
Speaker 1: believe it or not. Just simply sticking your stuff into
Speaker 1: the Apple Store and selling your own damn singles. You
Speaker 1: see ninety percent more revenue per unit. Now, can you
Speaker 1: make the same sales that's another question. But you get
Speaker 1: ninety percent of that or that.
Speaker 2: Yeah, I know digital recording killed the record in.
Speaker 1: This yeah, but do you know? Yeah? But do you
Speaker 1: know how much still the publishers are still screwing the
Speaker 1: artist because you still got to publish stuff in order
Speaker 1: to be able to control your copyright and be able
Speaker 1: to knock people down and DMCA and all that. Do
Speaker 1: you know how bad that is? Let me start with
Speaker 1: that ten dollars price again, because I swear that it's bad.
Speaker 2: But that's that's why. But so many artists, that's why,
Speaker 2: so many artists have gone to putting a shit on
Speaker 2: their own website. You want to stream it, you can
Speaker 2: buy it from them for ninety four cent for a single, right,
Speaker 2: and there is money off of it. And they don't
Speaker 2: have they don't have the cost of press and vinyl.
Speaker 2: They don't have to cost the press and CDs. It's
Speaker 2: all digital. They sell it to you, you download it,
Speaker 2: and all the profit is theirs. It's killed the record industry.
Speaker 2: I'm surprised that you're seeing the amount of vinyl coming back.
Speaker 2: I don't know if it's growthing, but you're starting to
Speaker 2: see more and more vinyl productions. Even these K pop
Speaker 2: groups in Korea are printing out vinyl albums instead of
Speaker 2: CDs for people because you because I guess it's a
Speaker 2: retro thing.
Speaker 1: You know, you and I can film can form an
Speaker 1: LLC and we can go to the publishing company and
Speaker 1: get the rights to print a piece of vinyl, and
Speaker 1: we can have it under a Chuck and B piece
Speaker 1: record label. As a subsidiary of the existing publisher. We
Speaker 1: can act as an agent and distribute that music in
Speaker 1: a limited sense, and then you charge a premium for
Speaker 1: the vinyl pieces and you get cheap manufacturing in Asia. Sorry,
Speaker 1: go ahead.
Speaker 2: Todd Runggren was one of the first artists that really learned,
Speaker 2: and he was with Bearsville Records, and he's one of
Speaker 2: those that learned, hey, I can put this shit out myself.
Speaker 2: He was one of the first big digital wizards. I
Speaker 2: guess you'd call it right, and they really pushed digital music.
Speaker 2: Who was it was? It was it Kanye that started Nabor.
Speaker 2: Remember when that streaming service was on.
Speaker 1: Well remember that one?
Speaker 2: What the hell was the name of it?
Speaker 1: Napster?
Speaker 2: But what was the one?
Speaker 1: Napster?
Speaker 2: What what you said?
Speaker 1: Napster?
Speaker 2: Napster? That's it? Wasn't that started by Kanye and a
Speaker 2: couple other people.
Speaker 1: I didn't think Kanye started it. He might have put
Speaker 1: some money in, but I don't think he started it.
Speaker 1: It was a couple of kids. Yeah, a couple of
Speaker 1: kids started it, like why don't we just share our music?
Speaker 2: You know?
Speaker 1: I mean? And that's why they needed to get rid
Speaker 1: of the digital cassette and they didn't encourage burning your
Speaker 1: own CDs so much anymore because they were.
Speaker 2: Fanning and Sean Fanning and Sean Parker's right platform. Yeah,
Speaker 2: and that was everything. Everything was encoded in an MPD
Speaker 2: three form mat right, That's what that the peer to
Speaker 2: peer model is what launched these independent artists to start
Speaker 2: putting on their own ves and sell your music that way. Well,
Speaker 2: and here's the thing is having to deal with these companies.
Speaker 1: If Metallica and Waylon Jennings was up on you know,
Speaker 1: LimeWire or Napster or whatever else. Then you know, like
Speaker 1: I said, you and me form a band, we put
Speaker 1: our ship in there too. It gets shared, there's interest,
Speaker 1: and now we can sell them stuff. Look, that's one model,
Speaker 1: but they're still getting killed on this publishing regardless. And
Speaker 1: by the way, it does cost money. Even even the
Speaker 1: guys that tried giving away their albums online. That was
Speaker 1: another trend if you remember that, where it was like,
Speaker 1: you know, what's great, We're just going to give it
Speaker 1: to you because you're going to steal it anyway, so
Speaker 1: we'll just give it to you. You know, the anti
Speaker 1: Metallica point of view, you know, because remember Lars alread
Speaker 1: got all angry and you people are robbing us, and
Speaker 1: it's like, dude, you know what happened to people that
Speaker 1: are robbing you right now? Have already bought See that's
Speaker 1: the other thing, the other part of the greed. How
Speaker 1: many times do you think I have bought in my
Speaker 1: life already all kinds of the same copy of the
Speaker 1: same damn album? Right? How many times am I supposed
Speaker 1: to have to keep buying it? You know what I mean?
Speaker 2: Every formattually copies of a lot of vinyl. Yeah, because
Speaker 2: you'll wear out the first two.
Speaker 1: Well, right, but you got copies of vinyl. But I
Speaker 1: used to buy cassettes CDs. I mean there was a
Speaker 1: point at which I mean I was, I was two
Speaker 1: par you know, there's two far removed from the eight tracks.
Speaker 1: But believe me, I would have bought eight tracks, you know,
Speaker 1: and then you buy the MP three download. How many
Speaker 1: times do you think you bought that freaking song a record? Anyways,
Speaker 1: let me go back to this ten dollars Okay, cool, Look,
Speaker 1: I used to too, but then this ex wife of mine decided,
Speaker 1: you know, I wasn't allowed to keep my collection. But anyhow,
Speaker 1: back to the other realities ten dollars. Let's just say
Speaker 1: if you were selling a record back in the old
Speaker 1: days ten dollars and this model prevails. Now, this is
Speaker 1: not an ancient, outdated model. This still exists the way
Speaker 1: I'm about to describe it. Okay, ten bucks, right, so
Speaker 1: you imagine how much of that do you think goes
Speaker 1: to who or who's involved in the process, ppe.
Speaker 2: Like, of your ten dollars album. Yeah, they might make
Speaker 2: thirty at the most.
Speaker 1: There you go, that is correct, because you're on a
Speaker 1: point system and an artist who's new is at a
Speaker 1: disadvantage on the point system and they're trying to make
Speaker 1: thirty cents an album. Now they sell three million albums,
Speaker 1: and you say, well, great, they made thirty cents three
Speaker 1: million times, right, But you got to think about that
Speaker 1: for a minute. And by the time taxes and everything
Speaker 1: else gets done with them, nobody got rich except guess
Speaker 1: who who makes the other nine dollars and seventy cents? Okay?
Speaker 1: And I get that the you know, the investment of manufacture,
Speaker 1: the guarantee that you're you know, you don't have a
Speaker 1: guarantee you're going to sell it. I get the idea
Speaker 1: that half of that ought to go to the people
Speaker 1: taking the risk. Okay, And guess what it does. And
Speaker 1: that's fine. Okay, So say five dollars out of that
Speaker 1: ten must by default go to your record company, if
Speaker 1: your record company is just a record company that is
Speaker 1: in the business of printing and producing your physical product, right,
Speaker 1: And look, I think that's fair. Do you.
Speaker 2: Don't know? It depends on how much I've got it.
Speaker 2: I mean, I realize it's all in their manufacturing, but yeah,
Speaker 2: I mean it's it's well in order for you to
Speaker 2: sell your system.
Speaker 1: Okay, but it's the old system. But in order for
Speaker 1: you to sell a million, they got to print a million,
Speaker 1: don't they. Because you can't sell something you don't have, right,
Speaker 1: So the thing is, if you're ambitious or you're controlled
Speaker 1: about it, this might change. You know. Do you sell them?
Speaker 1: Do you read you? Do you now create another issue?
Speaker 1: Do you go back into manufacture again? Is it worth it?
Speaker 1: Did it sell at a reasonable clip? Right? Let's don't
Speaker 1: forget the retailer has to make something. So let's just
Speaker 1: call it a dollar on each one of these things
Speaker 1: that the retailer realistically makes all together. On some products
Speaker 1: they make more, on some they make less. But really
Speaker 1: a retailer is only making ten percent of a profit
Speaker 1: on it at that time and still currently that's the
Speaker 1: way it works, except for guess what we have accounted
Speaker 1: for six dollars and thirty cents of the ten The
Speaker 1: three dollars and seventy cents goes to the controllers. That
Speaker 1: three dollars and seventy cents is pretty massive, and quite frankly,
Speaker 1: the retailer might take a hit because they got to
Speaker 1: put something on sale. The risk taker on production might
Speaker 1: take a hit because you know, they print, you know,
Speaker 1: eight hundred artists and maybe only two hundred of them
Speaker 1: are successful. You know. That's why there used to be
Speaker 1: such as stringent process for selecting who would be committed
Speaker 1: to these massive things, right, and you could always print
Speaker 1: your own stuff, and deependently you can make your own cassettes.
Speaker 1: You know. I used to do the homemade model, but
Speaker 1: other people would literally go manufacture, you know, pieces of vinyl.
Speaker 1: A band you never heard of, they just finished in
Speaker 1: the studio, they haven't played a single show. But this
Speaker 1: is this guy's project. Everybody puts in their money. And
Speaker 1: you know, I've done that on stuff before, and I
Speaker 1: don't have any of that stuff anymore. But believe me,
Speaker 1: out there somewhere in the world there may be pieces
Speaker 1: of mine or with my name on them, okay, that
Speaker 1: were produced. But it was because we sunk a couple
Speaker 1: thousand dollars into it. And I'm not just saying two grand,
Speaker 1: but I mean, you know, maybe we sunk ten grand
Speaker 1: into it, which was not small money in the eighties
Speaker 1: or nineties. It was an investment and it either paid
Speaker 1: off or it didn't. So that's why a lot of
Speaker 1: people went with the homemade model and the cassettes which
Speaker 1: you could run off on you know, very cheap machines
Speaker 1: with very cheap cassettes, and you could distribute them quickly
Speaker 1: and it was easy. Oh. Anyways, that three dollars and
Speaker 1: seventy cents sounds like, well, gee, it's only a third
Speaker 1: of it. Yeah, one third of the whole thing is
Speaker 1: controlled simply by the publishers who do nothing but hold
Speaker 1: the copyright and registration on this stuff. Okay, that's really
Speaker 1: the basic breakdown. Now, these other things that I mentioned
Speaker 1: where you got five dollars to the manufacturers, you got
Speaker 1: you know, a dollar to the Those things fluctuate because
Speaker 1: the problems. Okay, a retail store orders records and they
Speaker 1: don't sell half of them. They'll have to discount some
Speaker 1: of them, right, and maybe they sell the other ones
Speaker 1: a little above market value because they're brand new, they're
Speaker 1: in higher demand when they first come in, right, they
Speaker 1: put up big displays. We got a case of these
Speaker 1: in the case of those, and you know very well
Speaker 1: that a lot of that stuff wound up dump later
Speaker 1: onto Like dollar stores is remember when like regular music
Speaker 1: was a dollar store. It was because instead of having
Speaker 1: a whole bunch of inventory, dead inventory sitting in these
Speaker 1: you know, go out of business record stores. They dumped
Speaker 1: it off the cheaper the retailers. They get a loss. Okay,
Speaker 1: but who takes the losses?
Speaker 2: Yeah? That part of status.
Speaker 1: I don't know what's going on, you know, it seems okay,
Speaker 1: I end up. I'm sorry, I don't know what's going
Speaker 1: on with our connection. There we go, but okay, good.
Speaker 1: But what I'm saying is this other the thirty cents
Speaker 1: going to the artist is not even thirty cents, because
Speaker 1: by the time they get it, it's more like fifteen cents.
Speaker 1: And this is all done on what they call the
Speaker 1: points system. They don't reveal this to the public very often,
Speaker 1: but the contracts are still the same way. And if
Speaker 1: you try and do stuff independently, yeah, that's great, but
Speaker 1: you still have these people that wind up swallowing up things,
Speaker 1: these these other you know, the amounts that I talk about,
Speaker 1: the dollar to the retailer, the five dollars to the
Speaker 1: record company, those things will fluctuate based on various things.
Speaker 1: And where does that money all end up in that
Speaker 1: ten dollars product still in the very solidly non fluctuating
Speaker 1: hands of the publishers, they collectively create these pools where
Speaker 1: they say we have a shared artist pool, which is
Speaker 1: always a gigantic rip off because you don't know how
Speaker 1: much of that You know, how much of that artist
Speaker 1: pool goes to administration. You got to have people that
Speaker 1: you know, actually do the accounting, don't you. Yeah, so realistically,
Speaker 1: and artist makes fifteen cents on ten dollars, that's what
Speaker 1: they'll put in their pocket, and the publisher will wind
Speaker 1: up with seven dollars out of that ten and two
Speaker 1: and one is left over for again the retailer with
Speaker 1: the fluctuations, because they'll be able to balance it out
Speaker 1: hopefully or they go out of business, and then you
Speaker 1: have the two dollars that really goes to the manufacturers
Speaker 1: which caused them. If you remember records, like in the eighties,
Speaker 1: all of a sudden, the paper was thinner, the vinyl
Speaker 1: was thinner, right, you could almost rub the words off
Speaker 1: of the labels. You remember that. That's why you don't
Speaker 1: see those I don't know what's going on, but in
Speaker 1: the eighties. You know, if you go to a flea
Speaker 1: market now, you don't see a lot of those records
Speaker 1: from the eighties to existing. You see records from the seventies.
Speaker 1: You see records from the sixties because the manufacturers started
Speaker 1: trying to cut corners. Because the overall majority of the
Speaker 1: money ends up in the copyright controllers, in the people
Speaker 1: that actually do the DMCA stuff, in the emis, that's
Speaker 1: where the money really goes. And the artists, no matter
Speaker 1: who they are, we'll still sit there at fifteen cents,
Speaker 1: ninety percent of them, the upper echelons who end up
Speaker 1: with control over stuff still don't you know, you ever
Speaker 1: see Prince do the explanation on how much money has
Speaker 1: made and how much he ends up with, Yeah, you
Speaker 1: know where he's like, yeah, okay, I got twenty million dollars,
Speaker 1: I get it, But how much do you think was
Speaker 1: made off of my music? Realistic? And you know when
Speaker 1: you go to the millions and millions and millions of
Speaker 1: albums he saw, you realize, oh, Prince didn't make the money.
Speaker 1: Never does And no matter how they slice this, this
Speaker 1: is the way it goes. So here's the thing that
Speaker 1: this guy exploited is a system in which they pull
Speaker 1: together money and they try and pay people pennies. Anyway,
Speaker 1: this guy generated more pennies to be paid because he
Speaker 1: had to put more dollars in to begin with. The
Speaker 1: problem that they're pissed off about is he made counterfeit
Speaker 1: dollars into the system. Now, if that stuff was distributed
Speaker 1: by percentage to the other artists, if he goes big
Speaker 1: enough with his fake box and his fake music, the
Speaker 1: artists don't lose at all. The system does. And I
Speaker 1: gotta say, I'm not feeling bad about it because all
Speaker 1: they've done is from the beginning of time, turn around
Speaker 1: and give pennies to the people who actually create the art.
Speaker 1: That's the reality of so, you know, and the led
Speaker 1: Zeppelin role that's a little more complex then you might
Speaker 1: think it is. They might have improved things, but really
Speaker 1: Ray Charles shit way bigger than And even with that,
Speaker 1: that's how we get to the thirty cents. By the way,
Speaker 1: before that, you were talking about getting seven points if
Speaker 1: you were a rock star on a freaking album, seven points,
Speaker 1: which is nothing, you know, when there's like a.
Speaker 2: Tour today under the standards. Yeah, well even today they
Speaker 2: say that the only way that these groups make money
Speaker 2: is by touring. The emergency sales, intouring and ticket sales,
Speaker 2: and that's been you know, that's been any major record
Speaker 2: company in existence. That's the policy. You're not going to
Speaker 2: make crap on them with the schedules that they had
Speaker 2: because it was the only way they could make their money.
Speaker 1: Mm hmm. Well in the fifties and sixties the record
Speaker 1: companies controlled the tours too, and oh yeah, well that's
Speaker 1: really you see now, if you want to talk about
Speaker 1: where led Zeppelin did something, that's where they really did something.
Speaker 1: But they also got robbed by other gangsters along the way,
Speaker 1: because I don't know if you remember when they came
Speaker 1: to New York and they did like, you know, sold
Speaker 1: out shows at Madison Square Garden and stuff like that,
Speaker 1: you know, which people imagine that that building is larger
Speaker 1: than it is. It's not quite as large as a
Speaker 1: lot of people imagine, but the seats are very expensive.
Speaker 1: Somebody walked away with the cash box led Zepp like
Speaker 1: something like seven million dollars. I mean, in nineteen seventies
Speaker 1: money on money that was supposed to be collected. That
Speaker 1: did just the cash just walked away in New York,
Speaker 1: by the way. But the thing is, they changed that
Speaker 1: touring thing park where finally the artists could you know,
Speaker 1: it was like somebody got it in their brain I'm
Speaker 1: not going to let the record company run this part too.
Speaker 1: And they use these you know, maverick type manager people
Speaker 1: who didn't give a shit about the business and turned
Speaker 1: around and said, screw you. I'm gonna contract my own people.
Speaker 1: I'll have my own t shirt manufactured, I'll put my
Speaker 1: own people out there to sell them. I'll figure out
Speaker 1: how much to pay them, and then I'll also just
Speaker 1: cut up the money with the owner of the venue,
Speaker 1: my damn self. And that's how tour managers were born,
Speaker 1: because there wasn't tour managers for these guys when they
Speaker 1: put like ten bands together in the sixties and they
Speaker 1: used to have you know, everybody touring together, right like,
Speaker 1: you know, Chuck Berry and freaking eight other rock stars
Speaker 1: would be on a thing with a band of fucking
Speaker 1: fifteen sixteen people behind them with full orchestras, and you know,
Speaker 1: they barely paid those people. But but but you had
Speaker 1: these massive tours. These guys got nothing out of their tours.
Speaker 1: They got nothing out of their tours, and and they
Speaker 1: screwed them over on the record sales. Even the little
Speaker 1: bit of record sale money they were supposed to get,
Speaker 1: they were screwing them on it. Like you ever see
Speaker 1: that what is it called Chess Records? Is the name
Speaker 1: of it or no Cadillac Records, right, remember the movie
Speaker 1: Cadillac Records.
Speaker 2: Yeah, Chess record was the Chess Records was bigged back
Speaker 2: in the late fifties early sixties.
Speaker 1: It was based on Chess Records though. And the whole
Speaker 1: thing was why do they call it Cadillac Records? Because
Speaker 1: the owner of the record company bought every one of
Speaker 1: his artists a Cadillac as a gesture. But every time
Speaker 1: they turned around, they were all grow whether it was
Speaker 1: Edna James or it was you know, freaking Jump Berry
Speaker 1: or Muke Warners. He had all those people and they
Speaker 1: were all broke at the end of the day. After
Speaker 1: millions and millions of dollars were generated in nineteen fifties
Speaker 1: and sixties, a million dollars dollars and it wasn't there
Speaker 1: was nothing uncommon about that. That is the way the
Speaker 1: music business really works. The artist gets next to nothing.
Speaker 2: Well, I'll give you an example. Back in ninety four,
Speaker 2: ninety three, ninety four, Walnut Creeve Up and I Amptheter
Speaker 2: up and Raleigh the Eagles went on tour that year. Well,
Speaker 2: during the summer, they have this thing called rib Fast
Speaker 2: and for a week they'll have artists come in and play.
Speaker 2: Certain nights, might cost you ten bucks to get in.
Speaker 4: They got a bunch of barbecue places up their cooking
Speaker 4: ribs and the big thing in is fad music. Well,
Speaker 4: when the Eagles hit Ridfest was the week before the
Speaker 4: Eagles played, I stood in line for like thirteen hours.
Speaker 4: I was able to get tickets for me and my wife.
Speaker 4: Spent over one hundred dollars per ticket.
Speaker 2: Just to see the Eagles the week before the show
Speaker 2: was Ridfest.
Speaker 4: One night we spent ten bucks and we saw Glen Fryde.
Speaker 2: We spent another ten bucks and we saw Joe Walsh.
Speaker 2: But the show at the end of the week on
Speaker 2: Friday night was the Eagles. That cost us one hundred
Speaker 2: bucks oclock. I mean, it's just amazing how much these
Speaker 2: guys were winning to make to play.
Speaker 4: You know, two hours of their own stuff at ten
Speaker 4: up to a ticket.
Speaker 2: But at the end of the.
Speaker 4: Week that place was slam pull at over one hundred
Speaker 4: dollars per person, even for the grass seats. I mean,
Speaker 4: it was just amazing the money generated. The difference between
Speaker 4: Wednesday night when Joe.
Speaker 2: Walsh played and Friday Night when the Eagles played.
Speaker 1: The amount of money that rolled in that play correct.
Speaker 1: Look in ninety four is a great time period because
Speaker 1: that's when I was still involved in the music business
Speaker 1: directly Todd Rudgren you mentioned, right, So Todd Rudgren and
Speaker 1: another artist when he was a guy from a Hot Tuna.
Speaker 1: I can't remember his name, but he was a solo artist.
Speaker 1: He was kind of popular, dam I can't remember what. Anyway,
Speaker 1: Todd Rundgren came and played clubs in New Jersey. Do
Speaker 1: you know how much he was getting paid to play
Speaker 1: clubs in Jersey? I have no idea five hundred bucks, okay.
Speaker 4: And the reason but I'd be surprised he wasn't paying
Speaker 4: more because he had his Utopia band together.
Speaker 2: I mean, he was those guys. I would have paid
Speaker 2: anything to see him at that time. Let's put it
Speaker 2: that way. I enjoyed his music that.
Speaker 1: Much, okay, But he was going and playing clubs in
Speaker 1: Jersey for five hundred bucks that had ticket prices of
Speaker 1: about ten dollars. That's where he was at. And because
Speaker 1: the reason why is because it was just him you
Speaker 1: contracted with, you know, his representative that was it. Todd
Speaker 1: Rudgren could show up, but he wasn't going to get
Speaker 1: the big rate. Now, a regular heavy metal band that
Speaker 1: came through who was fairly popular but didn't have the
Speaker 1: longevity or you know, the easier audience that Todd Rundgren
Speaker 1: would have. I wish I could remember this freaking guy
Speaker 1: from Hatuna because he was kind of popular and people
Speaker 1: are surprised. But I was involved with the booking of
Speaker 1: this guy too. I can't remember his damn name. He
Speaker 1: was like a guitarist. He used to do an acoustics set,
Speaker 1: greg I can't remember. Anyways, some of these artists were,
Speaker 1: you know, formerly something, but now the record company's dropping.
Speaker 1: The second their record companies dropped him, their price went
Speaker 1: way the hell down. But they were making more money
Speaker 1: off of five hundred dollars with me. This is what
Speaker 1: his people explained, because it was sort of like five
Speaker 1: hundred bucks. You're sure I don't have extra stuff to
Speaker 1: pay here? No, okay, that was the best price is
Speaker 1: going to be negotiating five hundred bucks. But the reason
Speaker 1: was he was able to keep more of that five
Speaker 1: hundred dollars than if I had him when the record
Speaker 1: company was bringing him and saying, look, five grand, okay,
Speaker 1: literally ten times the price, and this guy's going to
Speaker 1: make one hundred bucks five hundred dollars. You know, maybe
Speaker 1: he keeps half of it really realistically okay, because they
Speaker 1: you know, they schedule things around it so he's not
Speaker 1: going too far. They get a cheap hotel somewhere or
Speaker 1: they have, you know, something they can all sleep in, right,
Speaker 1: and they economize on the tour. He's keeping more money
Speaker 1: out of that five hundred than he would if he was,
Speaker 1: you know, in a place that had one hundred dollars
Speaker 1: tickets and the again, the record company and the management
Speaker 1: is charging five grand. And these aren't you know, I know,
Speaker 1: these aren't the biggest rock stars of their day. They're
Speaker 1: not exactly at the peak of their careers. But I'm
Speaker 1: telling you, guys, from that to Typo Negative was pretty popular.
Speaker 1: Back then, Boarr was a bigger show, you know. But
Speaker 1: we were paying them seven hundred and fifty bucks.
Speaker 2: Sorry, I was gonna say, is it is it Captain
Speaker 2: how Opening or Jack Cassidy? Those were the two guys
Speaker 2: that are not beating that they can get for the airplane.
Speaker 1: I don't know it was and now it doesn't sound right.
Speaker 1: It was a blonde guy who was part of hat
Speaker 1: Tuna at some point, I don't I don't remember me.
Speaker 1: It really didn't matter because it was sort of like, Okay,
Speaker 1: I'm going to get the older classic rock crowd into
Speaker 1: this place, so obviously I'm happy to pay him five
Speaker 1: hundred bucks, pay the staff. You know, this is pretty simple.
Speaker 1: I spend one thousand dollars on the night and all
Speaker 1: I got to do is sell one hundred tickets and
Speaker 1: I break even. Right, But I got a place that
Speaker 1: holds three four hundred people. Good done, you know what
Speaker 1: I'm saying. And that's a proper hand, you know. And
Speaker 1: like I said, the seven hundred and fifty dollars to
Speaker 1: some of these bigger artists, and this is really why
Speaker 1: there was no money left to pay the local artists
Speaker 1: who would work your asses off and also promote the show,
Speaker 1: because they would just get paid a percentage on their tickets.
Speaker 1: And you know what, that was twenty percent, And that
Speaker 1: was better still as a percentage than you were ever
Speaker 1: going to see when you had these record companies and
Speaker 1: these freaking thieves and gangsters involved in your business.
Speaker 2: My point is what that bad they had these has
Speaker 2: had some talent in it, because Marty Ballin was in it,
Speaker 2: Paul Canter was in it, Papa John Creech was there
Speaker 2: for a while. I didn't realized that all these guys
Speaker 2: were in Hot Tuna.
Speaker 1: Well, try and figure out which guy was in Hot
Speaker 1: Tuna that was touring in the early though in mid nineties,
Speaker 1: because I.
Speaker 2: Gut, I know he hates Yeah.
Speaker 1: He had blonde hair, remember that. And I don't remember
Speaker 1: much about you know, I didn't deal with him directly.
Speaker 1: I don't was you know, his his representative, but he
Speaker 1: only had one representative, Smith.
Speaker 2: G.
Speaker 1: Smith. Yeah, yeah, sure, from the Saturday Night line man.
Speaker 2: Yeah, he toured, was him in twenty eleven. I didn't
Speaker 2: know that.
Speaker 1: Yeah, Okay, let's see the list that they got.
Speaker 2: Neither Paulmer members are Jolly Coveton was on drums, Paul Cantor,
Speaker 2: who was with them in Jefferson Starship, our Jeffson Airplane,
Speaker 2: Marty Bollin who was with him in Jefferson Airplane, Paul Seeger,
Speaker 2: Peter Kylekin who was the other one's brother, Papa John Creek,
Speaker 2: Sammy Piazza, Bob's heear Michael Faxonaro, Joey Balin, Pete Sears,
Speaker 2: That's about the only one I've got. They don't list
Speaker 2: anybody in the nineties. Pete Sears was in the nineties,
Speaker 2: Galen Underwood and of course the two Jack Cassidy and
Speaker 2: Jorma Callakin and they've been with the band ever since
Speaker 2: it started.
Speaker 1: I did, did Peter Bollin or Sears tour in the
Speaker 1: nineties as a solo artist? Has just asked the Internet
Speaker 1: that because.
Speaker 2: Balin, well, Marty Balin was with him from sixty nine
Speaker 2: to seventy. Paul Panter was problems in sixty nine, eighty
Speaker 2: seven to eighty eight. He died in two thoustany sixteen
Speaker 2: Papa John creatures in the seventies.
Speaker 1: Yeah, no, ask him. What if any of them the
Speaker 1: two guys I mentioned there, Bowling or Sears, if they
Speaker 1: toured as solo artists in the mid late in the
Speaker 1: nineteen nineties, that's all the nineteen nineties three, because one
Speaker 1: of these guys came there with like a bunch of
Speaker 1: no name musicians and acoustic guitar and that was it.
Speaker 1: That was the whole show. Wasn't a big production nothing.
Speaker 1: It was very stripped down and it was fine. It
Speaker 1: did great people came out.
Speaker 2: Of the seriesless with him from ninety to to two
Speaker 2: thousand and one, he played keyboards.
Speaker 1: Okay, that's not the guy. But one of those guys
Speaker 1: toured as a solo artist. And I don't remember which one,
Speaker 1: but it was, but literally it was advertised.
Speaker 2: Huh Larry Campbell, I don't it's.
Speaker 1: Not bringing a bell here, but I know we advertised him.
Speaker 4: Even I think it's got Tad Cassidy.
Speaker 1: Well we advertised him as whatever his name was, formerly
Speaker 1: a pottoona like. That was literally how we advertised it.
Speaker 1: And older people that never came to the clubs that
Speaker 1: I booked showed up to see it, you know, like
Speaker 1: people that were older than me, older than you know,
Speaker 1: I'm in my twenties there other people are in their
Speaker 1: early twenties, you know. Like I said, I booked a
Speaker 1: lot of metal and punk artists and stuff. But you know,
Speaker 1: get you get packages sent to you if you were
Speaker 1: involved in management or booking or whatever, and these people
Speaker 1: would literally put together like little mailers saying, hey, we're
Speaker 1: going to be available, you know, six months from now,
Speaker 1: and bookings are going to cost this much. This is
Speaker 1: our trailers, you know. This kind of thing. They literally
Speaker 1: would just mail stuff to you and yeah, hot tune,
Speaker 1: And I went, eh, I don't know, I don't know
Speaker 1: if I should consider that. And then somebody told me, well,
Speaker 1: you should really mix things up, because I mean, you know,
Speaker 1: you're gonna you might be able to book this guy
Speaker 1: on like a Monday or Tuesday and a mellow crowd,
Speaker 1: you know, during a weekday when we're not going to
Speaker 1: get the kids in, you know what I mean, the
Speaker 1: younger people. You know, you got a night where nobody's
Speaker 1: got to check IDs because everybody coming in definitely does
Speaker 1: not look close to twenty one, you know what I mean,
Speaker 1: because we had these eighteen to enter twenty one to
Speaker 1: drink kind of places, which are always a pain in
Speaker 1: the ass. Yeah, But anyway, you'd book people who were,
Speaker 1: you know, former members of this and that. You know,
Speaker 1: Clarence Clemmens when he toured by himself because of no Springsteen, right,
Speaker 1: obviously he's a Jersey basis, but you know still, you
Speaker 1: know the former member of this or that, Rob Halfred
Speaker 1: was not he was you know, not in Judas Priest anymore.
Speaker 1: He was doing his own thing. And then he came
Speaker 1: up with a band called Fight for a little while.
Speaker 1: Now he was expensive, the former singer of Judas Priest,
Speaker 1: very expensive. Motorhead cost a lot of money to bring in. Uh,
Speaker 1: Guar cost a decent amount. But they were cheaper on
Speaker 1: the nationally you know, hard rock metal punk kind of acts.
Speaker 1: They were much cheaper than others. But uh and that's
Speaker 1: not even going into like the whole death metal subgenre.
Speaker 1: I'm talking about mainstream. You know, you want to book
Speaker 1: a hard rock act, La Guns would come in because
Speaker 1: they weren't that they weren't doing that well at that point.
Speaker 1: You know, Jaki Lee was was trying to do a
Speaker 1: solo thing because he was no longer with Ozzie, he
Speaker 1: wasn't with bad Lands, and nobody gave a crap, so
Speaker 1: j Lee, you know, okay, he would cost a little more,
Speaker 1: but not much more than one of these other artists,
Speaker 1: who's like, who is that guy again? You know what
Speaker 1: I mean? And then you had more mellow places that booked,
Speaker 1: you know, the old motown acts and you know, however,
Speaker 1: many different things from the Spinners and the four Tops
Speaker 1: and whatever else. But I was not in that because
Speaker 1: those kind of shows, if I was ever involved in those,
Speaker 1: we booked them into like high school gyms that were
Speaker 1: trying to you know, rent them out to make money
Speaker 1: to you know, pay for their new scoreboard or whatever.
Speaker 1: And we'd take over a high school gym for a day.
Speaker 1: Oh yeah, you know that kind of stuff. But I
Speaker 1: would put like Deep Purple.
Speaker 4: I saw them in Raleigh, right, I saw Deep Purple
Speaker 4: in Raleigh. I think it cost me fifteen bucks. And
Speaker 4: this was in the early nineties. But they sounded like
Speaker 4: Deep Purple.
Speaker 2: But you know, I couldn't tell you how many were
Speaker 2: the original band members probably won.
Speaker 1: Yeah, if you were lucky, you know. And yeah, and
Speaker 1: that's the thing. You could maybe book a Deep Purple
Speaker 1: and put them at the Stone Pony because they weren't
Speaker 1: going to cost so much that you had to charge
Speaker 1: an outlandish amount for the tickets. You know, a Stone
Speaker 1: Pony ticket might have been ten dollars normally, but special
Speaker 1: Deep Purple show maybe we charged twenty, you know, and
Speaker 1: you could get away with that because hey, it's Deep
Speaker 1: Purple at least, you know, at least that's what you
Speaker 1: think or say. In the nineties, when Twisted Sister came through,
Speaker 1: because Twisted Sister was no longer big, big, big, like
Speaker 1: they were, you know what I mean, or you could
Speaker 1: uh oh. Another fun one was to get like say,
Speaker 1: one of the guys from the Howard Stern Show, like
Speaker 1: Fred Norris had a band. You could get that guy
Speaker 1: and he would draw crowd automatically in the New York,
Speaker 1: New Jersey area. But he was actually more expensive sometimes
Speaker 1: than like say a Deep Purple, who was not on
Speaker 1: the high point of their careers and didn't have a
Speaker 1: lot of original members. Trying to think of who hell
Speaker 1: that's like Blue, Well, yeah.
Speaker 2: Cole saw them the same thing in Raleigh, you know,
Speaker 2: and and that was in that was twenty years after
Speaker 2: they had been out, and it's like, yeah, they sound
Speaker 2: like them, but I think there was only one guy
Speaker 2: that was in the original band at that time. He
Speaker 2: is sad, but hey, at least I can say I
Speaker 2: got to see on Zilla.
Speaker 1: Right remember in the nineties, like bands like Quiet Riot,
Speaker 1: which were absolutely monsters in the early eighties, right, and
Speaker 1: they were trying to come back around. You know. Yeah,
Speaker 1: you could get a ten dollar ticket to see that,
Speaker 1: or a fifteen dollars. Like I said, maybe a typical
Speaker 1: band might have been ten bucks, but because they were
Speaker 1: a little bigger name, even though The only guy left
Speaker 1: I think was Kevin Dubrow, you know, for the singer
Speaker 1: for a long time, and he looked really weird and
Speaker 1: he was always a creepy, strange guy. Anyway, it didn't
Speaker 1: sound right. But you know, that guy would show up,
Speaker 1: you know, and these were this was not going to
Speaker 1: be a stadium tour for him. So he shows up
Speaker 1: with what he calls quiet riot and boom. You know,
Speaker 1: you got to show. But their rates would go down,
Speaker 1: and two things would happen. One, they weren't as popular,
Speaker 1: so their price would go down. But two, once they
Speaker 1: got dropped by their management because they were no longer
Speaker 1: with the record company and the record company wasn't dipping
Speaker 1: their hands and everything, they became a more affordable act
Speaker 1: to put them into smaller places. Because again, and here's
Speaker 1: the funny part, they're making more money off of a
Speaker 1: show that's charging a tenth of the amount to put on. So,
Speaker 1: like I said, if it was a five hundred dollars show,
Speaker 1: it might cost you know, five hundred bucks to book them.
Speaker 1: To guarantee you got to give them five hundred Maybe
Speaker 1: you got to give them a piece of the gate
Speaker 1: to something like that. Okay, But that would be the
Speaker 1: worst of it. If it was with the major label
Speaker 1: record and everything else, the clubs didn't even bother because
Speaker 1: it would be five ten grand minimum plus they need
Speaker 1: a percentage of the city. You can't possibly sell enough
Speaker 1: booze and tickets to make you know. I mean, unless
Speaker 1: you're gonna have prostitutes in the back too, you ain't
Speaker 1: gonna make enough money. I mean, it's just no good.
Speaker 2: I was lucky. I just looked up the members and
Speaker 2: when I saw the Oyster could have two original members,
Speaker 2: so at least two out of one two the word five.
Speaker 2: So hey, you know too, this that's what I've read
Speaker 2: the other day as an article talking about these fans that,
Speaker 2: you know, should they retire because there's no original members left?
Speaker 2: You know, look at Leonard Skinner. You know, the only
Speaker 2: guy that's with them is Rickey Medlock, who played with
Speaker 2: them before they started producing albums and then played a
Speaker 2: little bit with him a couple of times before they
Speaker 2: had ever started putting out albums. And then he turns
Speaker 2: back to joining at the Black Football de Bar and
Speaker 2: they're playing them that well, Ricky Medlock was there, so yeah,
Speaker 2: this is because he was in one of the originals.
Speaker 2: It's still Leonard Skinner. It's like, dude, they need to
Speaker 2: poller to go home.
Speaker 1: But the one guy, the one guy's the one guy's
Speaker 1: brother is still right singing.
Speaker 2: Yeah, Johnny Johnny Dams. The thing is, though all of
Speaker 2: the original members are going now, it's not the same,
Speaker 2: but they're pumping they're pumping money out of a bunch
Speaker 2: of dead men.
Speaker 1: You know.
Speaker 2: They're saying, I hate to see it, but I wouldn't
Speaker 2: spend money to don't see them. Now, well I see
Speaker 2: a lot of bands wo see because there's nobody left
Speaker 2: from the original group.
Speaker 1: Now, I wouldn't want to go see it either. But
Speaker 1: the thing is, it is they still have a name
Speaker 1: and see that's the thing. They have an intellectual property,
Speaker 1: and major label support or management companies are probably not
Speaker 1: dipping into this too much, you know what I mean.
Speaker 1: It's it's like they're not trying to do that unless
Speaker 1: they're doing a stadium, Tom. You know, that's why you
Speaker 1: have to fill a stadium. Got too, because all these
Speaker 1: thieves circle around the original thing, which is the name
Speaker 1: and the music, right, and they become not just the majority,
Speaker 1: but the ridiculous majority collectors on the money on the
Speaker 1: benefits on all of it. And that's why I say,
Speaker 1: when you look at this article and they're saying, oh,
Speaker 1: this guy's robbing from the artists, don't jump to that conclusion.
Speaker 1: I'm telling you, I don't care what the court's found.
Speaker 1: You know, the courts have found constantly in favor of
Speaker 1: these thieves, shysters, and scumbags who have done nothing but
Speaker 1: exploit people who wanted to create music. I'm not saying
Speaker 1: every rock star is a victim, but for God's sake, truthfully,
Speaker 1: I mean, you know, if you're generating a million dollars bpee,
Speaker 1: you know, are you willing to take home one hundred
Speaker 1: dollars checker. I mean, I'm just asking because that's really
Speaker 1: what these guys are being told all the time. It's like,
Speaker 1: be grateful, you've got you a hundred bucks and this system,
Speaker 1: this pooling system, and this streaming and everything else. I
Speaker 1: promise you it'll probably be thirty years from now where
Speaker 1: people are going to talk about the great that one
Speaker 1: that went on digitally, and it's not going to be
Speaker 1: this guy who figured out out of fully eight million
Speaker 1: dollars off of BS. He's not hurting the artists, the
Speaker 1: system hurts the artists anyway, this guy is going to jail,
Speaker 1: hurting the system because he just manufactured something, added it
Speaker 1: into their system, and exploited it. It should not, if
Speaker 1: done on mass, hurt the artists at all. One. Two,
Speaker 1: the artists are already you know, let's just say this
Speaker 1: guy's kicking them. Well, they've already been raped and beaten,
Speaker 1: so you know this guy's coming by and kicking them once.
Speaker 1: Is it nice?
Speaker 2: No?
Speaker 1: But that's the worst thing you could possibly do. And
Speaker 1: I'm willing to bet that if you are, you've peeled
Speaker 1: part to the mass, then I'm one hundred percent right.
Speaker 1: This guy's not stealing a dime from these people. He
Speaker 1: stole from the system, because in order to steal eight
Speaker 1: million dollars out of the system, how much do you
Speaker 1: think he had to generate into the system, And then
Speaker 1: by percentage that has to get distributed around. So even
Speaker 1: if he took a massive percentage the other you know,
Speaker 1: if he took eight million, what do you think was generated?
Speaker 1: I mean, this guy who got too greedy, really, because
Speaker 1: if he generates eight million, if you use the math
Speaker 1: that I was trying to explain to you about the
Speaker 1: ten dollars record. Then what this guy generated a billion
Speaker 1: dollars of bullshit? Because that's what it comes down to.
Speaker 1: I mean, you got to move your decimal points around.
Speaker 1: So out of that billion, he took eight million. So
Speaker 1: what happened to the other ninety two million of his
Speaker 1: bullshit he generated? See what I'm saying, ninety two million
Speaker 1: dollars gets left on the table, which.
Speaker 4: Is saying but I don't agree with your formulae, Okay,
Speaker 4: I I mean that's.
Speaker 2: Feeling difference we have. I see exactly what you're saying.
Speaker 2: But I don't think your formula is life.
Speaker 4: That he generated he could have generated more money from
Speaker 4: the other artist that he was stealing.
Speaker 1: Problem well, no, I don't agree, but based on the
Speaker 1: percentage that he's allowed to draw out of it, you
Speaker 1: can't see how that looks kind of like maybe I
Speaker 1: am right?
Speaker 4: Okay, No problem no, because I don't know, because I
Speaker 4: don't know the breakdown. I don't know what every song
Speaker 4: that's legitimate would have been pulling.
Speaker 2: I don't know what the pool was there. You go
Speaker 2: pull pulled eight million dollars out of the pool. Then
Speaker 2: he pulled eight million dollars.
Speaker 4: Out that other actual artists shouldn't have had divided up
Speaker 4: among them.
Speaker 1: Yeah, but that eight million, If he pulled eight million out,
Speaker 1: how much did he really generate to the system because
Speaker 1: he's only getting a small percentage anyway, forget that point.
Speaker 1: Let me just ask you this. Here's one thing I
Speaker 1: think you and I can agree on, though they're not
Speaker 1: showing you the man because again, if you're pulling thirty
Speaker 1: cents out of ten dollars, okay, and you stole that, okay,
Speaker 1: you stole it, fine, But how much more was generated
Speaker 1: that he doesn't get to walk away that he couldn't
Speaker 1: siphon off because it has to be in the pool.
Speaker 1: If he's only allowed five percent, where did the other
Speaker 1: ninety five percent go? It went to the other artists?
Speaker 1: It should be theoretically anyway. But my point is they're
Speaker 1: not going to show you that math because the moment
Speaker 1: that somebody really understands the kind of robbery that goes
Speaker 1: on in this business, I mean, you know, I don't know,
Speaker 1: and maybe maybe I'm wrong about that. No, I'm going
Speaker 1: to pull that back. If people understood truthfully the amount
Speaker 1: of robbery that goes on and exploitation here, and they
Speaker 1: had a bit of you know, ethical, you know, any
Speaker 1: any sort of ethos that was, you know, relatively balanced.
Speaker 1: They would know that every artist, regardless of whether they're faith,
Speaker 1: real or anything, is being exploited and taken advantage of
Speaker 1: by people that never have to write a note, never
Speaker 1: have to perform, never do a damn thing except control
Speaker 1: a certain business ask, and they do it well. And
Speaker 1: they have maintained that stranglehold even though they can't make
Speaker 1: money off physical products anymore, and they can't make money
Speaker 1: off of all the merchandising because a lot of these
Speaker 1: guys figured out how to take that out of their hands.
Speaker 1: A lot of these guys figured out how to run
Speaker 1: their own tours and all that. They have taken some losses,
Speaker 1: but this stranglehold, this is BS. This guy should not
Speaker 1: be going to prison. They should be having him figure
Speaker 1: out how to exploit the system more and to fix
Speaker 1: it so that people are not getting totally screwed over
Speaker 1: and making nothing for the things they create that actually
Speaker 1: did spread something outside of you know, a businessman, and
Speaker 1: I think you could agree though they're not showing you
Speaker 1: the equation, they're not showing you the formula. They won't
Speaker 1: and that's my contention is, again, if he took eight
Speaker 1: million dollars away, how much did he generate in order
Speaker 1: to be able to pull that eight million dollars. That's
Speaker 1: the question that court case is not going to answer. Clearly,
Speaker 1: the corporations, nobody questioned. Nobody's gonna want to answer that
Speaker 1: because I'm telling you it's it's just wrong. It's unbalanced.
Speaker 1: It's a pulls. So anyway, with that in mind, though,
Speaker 1: we got about thirteen minutes left, nobody else called in.
Speaker 1: You and I had this long discussion about the DMCA
Speaker 1: and so but anything. I started off talking about baseball
Speaker 1: a little bit, But I gotta tell you my beginning
Speaker 1: premise for the show though, still is that, you know,
Speaker 1: I'm not sure how I'm gonna pay one major bill
Speaker 1: coming up this month. I'm not sure if you know
Speaker 1: I have now I have someone generously doesn't want credit
Speaker 1: for it, but they did pay for us to have
Speaker 1: Riverside now, so I have a paid subscription to Riverside
Speaker 1: to use so that we can begin video streaming. However,
Speaker 1: my computer's have been outdated and I planned on getting
Speaker 1: a better computer, so I need to figure out how
Speaker 1: to upgrade. Get Windows eleven, get another, you know, refurbished
Speaker 1: computer or something like that, and I got to pay
Speaker 1: off this freaker because that thing is what distributes our
Speaker 1: audio podcast. But that's it. That's the two things I
Speaker 1: gotta do my birthday is what, you know, help watch
Speaker 1: one to seven? Good to see it on a calendar. Okay,
Speaker 1: so it's one week and one through week week and
Speaker 1: five days away. Okay, it's actually further wring that drug
Speaker 1: on my birthday's into seven April seven. The reason why
Speaker 1: I bring it up is because that's usually when I
Speaker 1: try to relaunch and refresh things. And I don't know
Speaker 1: if I'm gonna make my target to relaunch and refresh things.
Speaker 1: But you know, I'm hoping to do things a little differently,
Speaker 1: hoping to work with be beating a different way. I'm
Speaker 1: hoping to work with everybody in a different way and
Speaker 1: go straight to rumble because YouTube will not allow me
Speaker 1: to launch a podcast if I attempt to do it,
Speaker 1: you know again with my name attached to it, they
Speaker 1: will consider me evading my band, my lifetime band. So
Speaker 1: I can't do that because at any moment they'll just
Speaker 1: clip it and take it away again. So I'm not
Speaker 1: doing that. I'm gonna go to Rumble where I don't
Speaker 1: have any issue, So we're gonna basically just launch the
Speaker 1: Rumble channel. And I don't know, if you know, I
Speaker 1: don't know if I'm gonna bring Aaron along with that
Speaker 1: or not. I'm thinking I am, but I don't know.
Speaker 1: Maybe people have lost interest in me working with the Aron.
Speaker 1: Maybe Aaron's lost interest in working with me. I don't know,
Speaker 1: open questions. I've enjoyed producing and I've had the most
Speaker 1: you know, pleasant relationship with with Aaron and Uncle over
Speaker 1: the years, all things considered, for sure. Uh, he's been
Speaker 1: absolutely supportive, unlike others have seemed to have, you know,
Speaker 1: make the helpdowns and turned against making some screened reasons
Speaker 1: yourselves too, and people haven't try to help and been
Speaker 1: appreciate it, and so on and so forth and whatever.
Speaker 1: I've used a lot of other shows, I've produced a
Speaker 1: lot of shows in my own, and I don't know.
Speaker 1: Is it that I'm no longer necessary communication? I'm not sure,
Speaker 1: but I'd like to try to find out why are
Speaker 1: you watching them?
Speaker 2: I'm not hearing you at all. Of course, I'm static,
Speaker 2: God bad, And now I've propped he.
Speaker 1: Well, that sucks because I know I'm going out live
Speaker 1: and loud on the screen, and uh, this is just
Speaker 1: a communication issue between you and me. But again I
Speaker 1: think I my computer update. Okay, and can you hear
Speaker 1: me now? Now I can? Okay, good. I was just
Speaker 1: explaining that, you know, I got a lot of things
Speaker 1: to consider, and I got a couple of struggles in
Speaker 1: April being, you know, the month of my birthdays. Usually
Speaker 1: when I try and like, you know, refresh, reload everything.
Speaker 1: I don't know if you caught all that, but you know,
Speaker 1: I'm not feeling super great, but I want to try
Speaker 1: and do this for one more year before I consider
Speaker 1: just giving up. And by the way, Aaron Franz is
Speaker 1: coming up next with the Age of Transitions. I'll be
Speaker 1: more than happy to produce that if the computer gods
Speaker 1: allow it, if the Internet allows it. Okay, and uncle
Speaker 1: the broadcast at eleven pm Eastern. So I'm gonna do
Speaker 1: those two things tonight. They have been away for weeks
Speaker 1: for various reasons. Not my fault, but you know, I
Speaker 1: don't know, maybe everybody's losing interest in everything. And we
Speaker 1: didn't even discuss the war in Iran, nothing like that.
Speaker 1: I had a whole set of news things that I
Speaker 1: wanted to get to earlier this week, but I was
Speaker 1: going through traumatic brain injury evaluations, so you know, between
Speaker 1: that and some physical therapy and trying to get to
Speaker 1: walk and stand again, I kind of didn't make enough
Speaker 1: time to properly do a show. And I won't give
Speaker 1: you garbage, so you know. But then again, maybe my
Speaker 1: trash is not anyone else's treasure and my treasures or
Speaker 1: just basically not even worthy of everybody's trash. I don't know.
Speaker 1: I just don't know anymore. But like I say, I
Speaker 1: want to launch the Rumble Channel in April, sometime right
Speaker 1: around or after my birthday. We have part of it
Speaker 1: set and paid for, but I still got some bills
Speaker 1: I gotta take care of, so I don't even know
Speaker 1: if I'm gonna make it there, but I'm going to
Speaker 1: do my best to do something with this. Maybe we
Speaker 1: don't need to do an audio podcast anymore on its
Speaker 1: own and distribute it like I have over the years.
Speaker 1: I mean, maybe that's got to stop, you know, because
Speaker 1: I gotta cut expenses so I can put it into
Speaker 1: the video and then all I need is a good
Speaker 1: Android phone, right, because that's what they tell you anymore.
Speaker 1: You know, all you need is a phone. But anyway,
Speaker 1: I don't carry a phone. I guess I'm stupid anyhow,
Speaker 1: be Pete, Why don't you just go ahead and talk
Speaker 1: for the last eight minutes. Tell me what's on your mind,
Speaker 1: anything you want to close out with, how you feel
Speaker 1: about the world, if you can hear me, and uh,
Speaker 1: we'll just close this one out and go on to
Speaker 1: Aaron Franz right at ten pm Eastern here on Newchelli
Speaker 1: dot Com Radio.
Speaker 2: No. I was just I don't eve want to talk
Speaker 2: about the war. I'm tired of the war. I'm tired
Speaker 2: of everybody bitching about it and the ridiculous ops that
Speaker 2: are going on out there trying to convince people of
Speaker 2: the one thing or another. I'm tired with glitter. It's
Speaker 2: gotten ridiculous. You can't even have a decent conversation with
Speaker 2: some people about anything without being called a pedo or
Speaker 2: a kike or a jew. It's ridiculous. But I did
Speaker 2: notice a couple stories one believe it or not. In
Speaker 2: Europe they're having a bigger problem with cigarettes illegal more
Speaker 2: than drugs. In fact, they developed Cartel's story. I read
Speaker 2: today that the illegal European illegal cigarette trade. Nearly half
Speaker 2: of the cigarettes sold in Belgium, France, the UK and
Speaker 2: Ireland are either smuggled from stolen sources or counterfeit, and
Speaker 2: they're looking at a forty three point seven billion dollar
Speaker 2: business in illegal smokes. I thought that was amazing, you know,
Speaker 2: a bigger problem than drugs.
Speaker 1: Well, people, I yes, well, you know, BP people that
Speaker 1: think I'm stupid might have forgotten that. I actually told
Speaker 1: people this was the case about two years ago, because
Speaker 1: that's how long this business has really exploded over the
Speaker 1: past probably three years easily, But about two years ago
Speaker 1: I was aware of the fact that organized crime had
Speaker 1: moved into things like cigarettes in Europe. And I talked
Speaker 1: about it on this show. And you know what, I
Speaker 1: was called an idiot and a moron because ventanyl fentanyl fentanyl,
Speaker 1: And I tried to explain, you know, ventanyl is just
Speaker 1: a political thing more than anything else. I know, it's
Speaker 1: killing people, but always things do, and believe it or not,
Speaker 1: there's a lot more money in the cigarette trade than
Speaker 1: there is in the fentanyl trade in Europe. And people
Speaker 1: thought I was retarded, So you know, just.
Speaker 2: Say one of the others, yeah, and one of the
Speaker 2: other stories. UK has reopened their investigation into Andrew Tate
Speaker 2: on his rape and sexual assault charges, and I heard
Speaker 2: the wolves at Romania where he was. They've reopened an
Speaker 2: investigation as well, so he might be feeling some heat
Speaker 2: pretty soon. Of course, you know he's been partying over
Speaker 2: in Dubai and places of that nature. On the third one,
Speaker 2: Canada is advancing a plan to criminalize quoting the Bible
Speaker 2: of all things. They're calling it hate speech. And another
Speaker 2: example was Finland actually prosecuted a guy, a member of
Speaker 2: parliament for a two thousand and four pamphlet supporting classic Christianity.
Speaker 2: And when we see this crap happen in UK and Canada,
Speaker 2: it ain't long before we start seeing it here. One
Speaker 2: of the oldest books published in the world is now
Speaker 2: going to be considered a hate crime in certain places.
Speaker 2: If you quote it. You find that utterly amazing, I'm
Speaker 2: sure you do.
Speaker 1: Will you do me a favor, though, see if you
Speaker 1: can find the actual legitimately printed piece of legislature out
Speaker 1: of Canada, Because every time somebody floats one of the
Speaker 1: hate speech stories out of Canada, they're usually misrepresenting what's
Speaker 1: in the thing. And it's a propaganda piece. Yeah, no,
Speaker 1: you don't need a second I want I want the
Speaker 1: actual legislation. I want the time to read it, and
Speaker 1: I don't have it in three minutes here. It'll take
Speaker 1: me longer to read it. I would just like to
Speaker 1: read it, that's all, because, oh my god, I am
Speaker 1: so sick. It is every six months there is a
Speaker 1: new look at the liberal scum in Canada who are
Speaker 1: legalizing pedophilia or whatever. And you know, when you actually
Speaker 1: look into what it is they're pointing at, that's not
Speaker 1: what it says. It's just I don't know. I don't
Speaker 1: know what to do with that, except that you know,
Speaker 1: people are going to keep doing that. So please send
Speaker 1: it to me, because I mean, they've only out of
Speaker 1: the past five of these panics, these moral panics about Canada,
Speaker 1: one has had any valid point to it. One out
Speaker 1: of five. So I'd like to see this. It may
Speaker 1: be true, and you know, who knows. I'd like but
Speaker 1: I would really, really really like to see the legislation,
Speaker 1: not some excerpt on somebody's jackass website, but actually the
Speaker 1: official document, if we could, in a PDF, because every
Speaker 1: time I do that, it's a misrepresentation of what's in
Speaker 1: the damned legislation in Canada, which is really weird. And
Speaker 1: I'm not even a fan of the Canadian government at all.
Speaker 1: You know, the parliamentary system under the Queen still up there,
Speaker 1: or excuse me, under the Office of the King, which
Speaker 1: is now held by Charles Yes, indeed it is, I forget,
Speaker 1: but for many years it was the Office of the
Speaker 1: King held by the Queen. In England still.
Speaker 2: Forty fifth Parliament, forty fifth Parliament, first Session, Monday May
Speaker 2: twenty six, twenty five CE Dash nine and Act to
Speaker 2: amend the Criminal Code, Hate Propaganda, hate Crime and Access
Speaker 2: to Religious or Cultural Places. Cool first, please? Yeah, just
Speaker 2: send it to It's now in the Senate, Okay.
Speaker 1: So I want to read what it says. So if you,
Speaker 1: if you have a PDF of the document, please email
Speaker 1: it to me so I can read it. That's all
Speaker 1: I'm asking. I just want to see it, because, like
Speaker 1: I said, a lot of time, I just this is
Speaker 1: why I laughed when you said it, because it's like, oh,
Speaker 1: here we go again with this. Canada is a liberal cesspool,
Speaker 1: blah blah blah. And then you go check on what
Speaker 1: it is they're saying, and it's It's like the time
Speaker 1: they said Sharia law was being implemented in Flint, Michigan.
Speaker 1: It didn't happen, but the people insist upon it. To
Speaker 1: this day it's happening, and it's like, but it's not there.
Speaker 1: And also the other jack assery about that which really
Speaker 1: makes me crack up. We passed the law that says
Speaker 1: you can't have Sharia law here. Yeah, here's the thing.
Speaker 1: If Sharia law were implemented, your law would all be nullified.
Speaker 1: To begin with, you have made a virtue signal on paper.
Speaker 1: That's it. Because in your scenario where Sharia law is
Speaker 1: instituted officially, you can't you can't protect it by saying
Speaker 1: we won't have Sharia Lawyer, you know, we have laws
Speaker 1: that say you should not murder. It doesn't prevent murder,
Speaker 1: get it. It's just you know, your law doesn't stop
Speaker 1: things from happening. One two. To put a law in
Speaker 1: to say that you can't change the legal system. Your
Speaker 1: legal system is thrown out if you bring in Scheria law.
Speaker 1: It doesn't resemble the American system a joke as it is.
Speaker 1: It doesn't resemble the pay to play American system at all.
Speaker 1: So by necessity, to instituted officials. Yeah, go ahead.
Speaker 2: People said it would not take place in the UK,
Speaker 2: but they've already got sharia courts working in in the UK,
Speaker 2: so you know, it's just a matter of time. It's
Speaker 2: gonna end up.
Speaker 1: Okay, but I can make a star chamber. Okay, but
Speaker 1: I can make a star chamber here. My point is
Speaker 1: that it's a useless gesture. You know, the the UK
Speaker 1: government should not be endorsing that it's not legal. So
Speaker 1: you're talking about an extra legal activity, not but to
Speaker 1: literally create a law that says you can't institutionary law
Speaker 1: is done. That's like saying I have created a law
Speaker 1: that says you cannot overthrow the government. Well, if you
Speaker 1: overthrow the government, your law doesn't matter. Nobody's gonna you
Speaker 1: know what I'm saying, because we can reset that. So
Speaker 1: I don't know. It's like people can't think this way.
Speaker 1: They don't understand. All right, Anyways, Please do send me
Speaker 1: that piece of legislature, and and if I have to
Speaker 1: go get a copy of it myself, at least send
Speaker 1: me the exact reference. I'll go get one. But I'd
Speaker 1: rather have the PDF to read so I can see
Speaker 1: what it says. See what they're pointing to, because you
Speaker 1: know you were supposed to be able to marry your
Speaker 1: dogs by now up there and everything else, and rape
Speaker 1: was legal.
Speaker 2: Well yeah, people laugh though. People laughed though when they
Speaker 2: said the euthanasia was being implemented in Canada, and come
Speaker 2: to find out, to date, more people have died from
Speaker 2: government instituted euthanasia than other means. So you know, i'most
Speaker 2: send you this link that includes all three readings, the
Speaker 2: two readings in the House of Commons and the third
Speaker 2: reading in the Senate. But basically it says everyone commits
Speaker 2: an offense who willfully promotes hatred against any identifiable group
Speaker 2: by displaying in any public place a symbol that is
Speaker 2: primarily used for principally associated with listed entity as to
Speaker 2: find in subsections and blah blah blah, the Nazi swastika,
Speaker 2: the Nazi double sigrun, the ss bolts a symbol, blah
Speaker 2: blah blah of everyone who commits an offense. Well, I
Speaker 2: mean it's here, you.
Speaker 1: Can't read it. I want to read it. I want
Speaker 1: to see how it's being instituted, because, like I say
Speaker 1: again every time, it's some sort of weird thing where
Speaker 1: they're making something up. You're trying to pat So I
Speaker 1: got to produce another show. I got to produce another show,
Speaker 1: so or over time, and I want to get over
Speaker 1: to Aaron. Uh but please send me this stuff so
Speaker 1: I can read it for myself and we can discuss
Speaker 1: it next week or whatever you want. But uh, yeah,
Speaker 1: I want to get get done with this because what
Speaker 1: you read to me right now, I don't know what
Speaker 1: you're reading from. I want to read it myself because
Speaker 1: every time I do, with the exception of one time
Speaker 1: out of five, it's a panic over a misunderstanding and
Speaker 1: somebody hyping up something that was either considered and thrown
Speaker 1: out or whatever. It's not part of the law and
Speaker 1: it's just weird anyways. Whatever it is, it is beating
Speaker 1: her be upset. Yeah, the fascist Islamo fascists are coming.
Speaker 1: We're back to that. Okay, fine, whatever, but you know again,
Speaker 1: it is what it is. I hope everybody's doing well.
Speaker 1: I hope nobody's nervous. I hope nobody's upset. I hope
Speaker 1: everybody's ready to do their thing for themselves and improve
Speaker 1: their own lives more than anything, and hopefully we'll see
Speaker 1: better prices at McDonald's in April. That's all I got
Speaker 1: to say. What's your final note for the week so
Speaker 1: I can get to Aaron before it's too late.
Speaker 2: No final note. I'm getting ready to send this to
Speaker 2: you and we'll discuss it.
Speaker 1: Cool. Cool, Well, look, I hope you do better with
Speaker 1: the pollen. And that's that, so Amocelli. You guys, well,
Speaker 1: I don't know if you guys are the effect anymore.
Speaker 1: I don't know whatever. Maybe I'm just affected, maybe I'm
Speaker 1: just stupid. You know, what is an insane man in
Speaker 1: the world of sanity, or how about a sane man
Speaker 1: in the insane world? What is that man attempting to
Speaker 1: discuss things that other people can't see? Anyway, it is
Speaker 1: what it is, It was what it was, and up
Speaker 1: next is the Age of Transitions with Aaron Frantz. I
Speaker 1: want to thank my co host p Pete for talking
Speaker 1: with me for the majority of the time about music
Speaker 1: this week, but we did discuss other things and you know,
Speaker 1: hopefully you got something out of this anyway,