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Speaker 1: Over the kiss here, I couldn't care less about the

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team struggling.

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Speaker 2: Bring your kitchen to life with Queen City Cabinetry, located

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at eighty seven Elm Street in the historic Sunbeam Mall

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in Manchester, open Monday through Friday nine am to five

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thirty pm, in Saturdays ten am to two pm. They

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can be reached at six oh three two two two

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to zero zero seven or on the web at Queen

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Citycabinatree NH dot com. Come see the possibilities Queen City Cabinatree,

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another proud sponsor of WMNH.

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Speaker 3: You are listening to w MNHLP Manchester's radio broadcasting at

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ninety five point three FM from the top of one

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thousand Elm Street.

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Speaker 4: Our studios are.

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Speaker 3: Located one nineteen Canal Streets and licensed to Manchester Public

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Television Service in Manchester, New Hampshire, USA.

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Speaker 5: St.

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Speaker 1: You are listening to w m and H S ninety

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five point three Command God, don't get up green Lea.

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Speaker 6: Maxill Coving, Good morning, everybody, here we go.

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Speaker 1: It is that time again. Matt Connorton unleashed and we

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are live from the studios of w m n H

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ninety five point three FM. Inglorious of Manchester, New Hampshire.

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Of course, you can stream the show at Matt connorton

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dot com slash live and you can go there for

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all your live streaming options, social media links, contact and

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fosshow archives, et cetera, et cetera. Today is Saturday, November thirtieth,

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two thousand, twenty twenty four and I am not alone.

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Speaker 7: Jen morning.

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Speaker 1: Jenny is here as well at the news table. Yes,

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we have a great show for you today coming up

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in just a few minutes. We're going to be joined

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by phone by our friend Isaac Sierra, also known as

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Truth also known as True Rhymes. And then on the

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second hour, let's see, second hour, we've got Tony and

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Martin from the project Naked Without It. They're going to

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be skyping in from the UK. And then in the

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third hour today we have a Vice's Ink returning to

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the show and this time they're going to perform live.

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They're from Portland, Maine and they drive all the way here,

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which we appreciate totally. That's gotta be what hour and

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a half I'm Portland, yeah, baby, So welcome everybody, and uh,

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let's see, well if you had a great Thanksgiving by

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the way we are going to I think it's the

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world radio premiere of Isaac's here as new track bar

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none where it's kind of new. It's been out for

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a little bit, but we have a radio edit of that.

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We're going to spin to open the interview. Let's see.

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I want to remind everybody today if you don't know,

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is a Small Business Saturday and our great sponsor, the

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Sister Witch Company, they've got a great event. I'm looking

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for the tab. Did I close that tab? Well, they've

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got I'll reopen the tab but on the computer here.

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But today they've got a great event going on at

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the Manchester Masonic Temple here it is the Magical Market

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Small Business Psychic Fair. This begins at eleven thirty am

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and goes to six pm today. This is from their website.

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Come join us on Small Business Saturday from eleven thirty

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to six where you will find some of the most

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amazing vendors and they're handsome arts and they're handsome items

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and art. This will be a packed event, one floor only,

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with a separate room dedicated to our readers and healers.

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This is the time of year where small businesses need

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you more than any big box store. As I like

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to say, you know, Walmart doesn't need any more of

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your money, but small businesses do. Come out and meet

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us and watch us light up when we make a sale.

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This is being held at the Manchester Masonic Temple, which

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is at fifteen oh five Elm Street in Manchester. So

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that's happening today. They've got another one too, by the way,

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coming up on December twenty first, from noon to five pm,

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which will also be at the Masonic Temple. But today's event,

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of course, like I said, small Business Saturday, please support

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your small local businesses. It is so important and so

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vital to the economy. And you know, yeah, those big

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box stores they're going to be just fine with or

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without your patronage, so we don't have to worry about them.

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But Sister Witch Company a great small business who I

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suggest you support. They've been on the show and they're

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great people. And I actually participated in one of the

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events that they had at Sister Witch Company. Hey, welcome

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back everybody. It is Matt Connorton Unleashed. We are live

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on Saturday Morning. Our guest is m I A. So

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we are moving on.

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Speaker 8: But here we go.

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Speaker 1: So on the program, when that on the rare occasion

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something like that happens. You know, the good thing is

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we always have other things to talk about. We do

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have great guests coming up later in the show. Of course,

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second hour we have Tony and Martin from the project

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Naked Without It. They're going to be skyping in all

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the way from the UK. And then in the third

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hour we are joined live in studio by Vices Inc.

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A great, great band from Portland, Maine, and they've been

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doing a lot of a lot of really big stuff,

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so looking forward to talking with them. They have some

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new singles and they even well actually I have something

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else too from them, but that's a surprise. So lots

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to do on this Saturday morning. But you know, we

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do talk. We know a lot of people in the

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industry listening to the show, in the music industry, and

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we like to like to talk about things going on

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in the music industry. Unfortunately, a lot of what does

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go on in the music industry that is particularly fascinating

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is it often has to do with people suing each other.

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You know, I had put way back, remember when we

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did the segment about Don Henley, uh suing someone because

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Don Henley is very litigious. That segment I had, I

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had clipped it and put it up on YouTube, and

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that is by far the most listened to segment that

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we've ever done on the show. That still gets views

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on the YouTube, uh, on our on our YouTube channel.

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But what is uh, what has been happening, So there's

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a little bit of new information here on this particular subject.

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You know, the band Limp Biscuit, they were they first

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got very big in the nineties, and you know, they've

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had a resurgence and they do very well when they tour.

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And that that song was that song Dad Vibes maybe

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a year ago, maybe maybe longer, maybe two years ago

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now that I really like it was kind of kind

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of a comeback single, maybe a year and a half ago.

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But yeah, you know I was I was kind of

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a fan of Limp Biscuit back in the day. I

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was in a band called I was in a band

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called the Jinx and wait was it in the Jinkster

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in My Life Crisis. Our singer Rhino Ryan Pope, he

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would well, at one point we were covering the song

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break stuff, and I wasn't a big fan of doing

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covers in the bands I was in because I felt

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that our originals were strong enough, we didn't need to

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do a lot of covers, but they talked the guys

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talked me into doing break stuff. And the breakdown in

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that song where Fred Durst gets really intense and like

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really angry, Ryan would like would like turn red. He

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would get so into it and get so into that

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part of the song. It was fun. So anyway, So

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part of why this is so fascinating to me is

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this is not an uncommon tale. What we're going to

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talk about if you don't know about about this, Limp

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Biscuit is suing their record label, UMG Universal Music Group

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for two hundred million dollars in unpaid royalties. Now, artists

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having to sue their record label for unpaid royalties is not,

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in and of itself a new story, but for two

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hundred million dollars is pretty staggering because what has happened is,

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according to Fred Durst and his representation, Universal Music Group

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never paid Limp Biscuit anything after selling millions and millions

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and millions of albums.

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Speaker 7: But they're claiming.

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Speaker 1: That's not true UMG, Well, of course they are.

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Speaker 7: UMG says they paid lymp Biscuit one point zero three

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million dollars in back royalties in August of twenty twenty four. Yes,

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after uh after wait after the fact, yeah yeah, backwards.

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Speaker 1: After after Fred Durst spoke up and said, hey, uh,

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I think you guys owe us some money. Yeah, so

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they finally, but olymp Biscuit is alleging they owe they

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owe them two hundred million or or a lower number

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plus damages however that works out. Now. Unfortunately, this is

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not an uncommon tale though. There's a there's a term

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I learned recently, spaghetti accounting, and it's a way that

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these big labels and you know, and you even hear

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stories with smaller labels, independent labels, but hopefully a lot

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less because you don't you don't want to hear those

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stories because uh, those stories are unpleasant, you know, because

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you know, especially in a venue like this, we always

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advocate for artists. But but it's not unusual for record

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labels and other entities within the music industry to use

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some creative accounting, shall we say, or spaghetti accounting. That's

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a term that I just learned recently. And I learned

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that term for me. Yeah, oh, spaghetti accounting, Yeah, yeah,

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I mean, I like spaghetti but I don't think I'm

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a fan of spaghetti accounting, must accounting when I think

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that's the idea, So that way it's hard to figure out, uh,

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where all that money went. I learned that term from

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there's a YouTuber that I really like, uh who we've

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talked about taught music attorney and or law tuber. That's

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another term I learned recently, which is a a lawyer

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who YouTube's does youtubing.

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Speaker 2: What is it?

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Speaker 1: Law tuber?

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Speaker 7: Law tuber.

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Speaker 1: Yes, there's a lot of law tubers. They're they're lawyers

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who do we have to keep making up new works

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like the Might's Touched that, like the Might's Touch Network,

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which we're fans of. You know, they're law tubers. So yes,

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there's always new term. Young people are always coming up

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with new terms. Anyway, what was the one that I knew?

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There was a term that I knew that that DJ

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Reckless didn't know, and I was like, how do I

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know this? And you don't remember what it was?

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Speaker 7: Oh?

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Speaker 1: It was thought th h O T And I'm not

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gonna and I'm not gonna say on the air what

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it means. But I was stunned.

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Speaker 7: I don't even remember.

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Speaker 1: I'll tell you off. But I was stunned that he

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that he didn't know what that meant, and I did.

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But anyway, but it's not it's not a nice uh

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it's not a nice term. But and it's not yeah, yeah, right,

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right exactly.

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Speaker 7: But uh u m G at this point is trying

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to say this whole thing should be thrown out because

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they're making it up.

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Speaker 1: Right.

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Speaker 7: Oh, of course making this up, that's what they're saying.

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Speaker 1: Of course, now what they also claim, So people who

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don't know how this works with major labels, when a

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major label signs you, they give you. When they sign

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you and they're gonna release your album, they give you

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they give you an advance on that album. So say,

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for example, we'll use nice, big round numbers because I'm

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not good at math, so it makes it easier for me,

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But it also makes it easier to explain these concepts

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for people who don't know how this works. So because

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I think people outside of the industry have this idea

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that a record label signs you and they give you

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tons of money up front, and now you're suddenly a

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millionaire and you're being flown out to LA and you're

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put up in the Playboy mansion or something, and you're

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surrounded by supermodels all day and everything. I think, at

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least I think there was a time when that was

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the general perception that people had about how this music

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industry works.

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Speaker 7: And it's not.

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Speaker 1: The money that you're giving up front is actually an

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advance so they give you. So say they give you

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a million dollar advance. And again I'm using big round numbers,

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but let's say they give you a million dollar advance.

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That's to make your album. So you're going to spend

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that money. That's not like your money to just put

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into your bank account, and now you're a millionaire and

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you get to go make your album. But now you're

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you're a millionaire because you're about to be famous, or

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you're already becoming famous. It doesn't work that way. So

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that's that's actually an advance on your earnings. So they're

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giving you that money, they're investing that money in you,

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giving you that money up front for you to go

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and spend one making your album. Now, what some artists

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might do in a situation like that, they get that

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million dollar advance, but they're only going to spend a

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half a million making their album, you know, So there

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are ways to do that. Tom Scholz from Boston famously

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or infamously did something like that where the label advanced

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him something like the label advance some some something like

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fifty grand and he made the record for fifteen hundred

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dollars at home, in his home studio or something like that.

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That's awesome, yeah, so so so that that does happen.

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But but again it's not they're not paying you this

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money to keep. It's an advance, and advance is recooped.

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So this term recoupment is where people can get tripped up.

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So they're gonna get that money back. And the way

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they're gonna get that money back is you make the album,

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they release the album, they do all the promotion and everything,

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but they're gonna recoup that money they advanced you. That's

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not yours to keep and you which means you don't

255
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get anything from sales anything until that money is completely

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paid back. So you're not getting a check from the

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label until all of that advance money has been recouped

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by the label. So limp biscuit. So according to UMG,

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and again they've they've made additional statements now in recent days.

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But according to UMG. Back when this was first filed,

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their claim was, well, no, we we hadn't paid Olympus

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get anything because they hadn't you know, they hadn't settled

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the recoupment yet. Now this is this is where it

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really gets nuts and again. And I have an article

265
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in front of me, and I know you you have

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something as well. I have something from Billboard that'll explain

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this in a little bit bit more detail. But right

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now I'm just speaking extemporaneously about what I know about

269
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this so far, because I've been following it pretty closely.

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Feel I'm fascinated by this kind of thing.

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Speaker 9: So what.

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Speaker 1: What what happened at one point was so either Fred

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Durst or representatives of Fred Durst's management or attorneys whomever,

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probably all of them, at various points, tried.

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Speaker 7: To sign in.

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Speaker 1: It's like a record label, a big company like UMG.

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Speaker 8: They they will.

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Speaker 1: Create a portal like you know how for anything financial, right,

279
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you know, whether a bank account or some sort of service.

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You know, you have a portal that you log into

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and you can see all your numbers and see what

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your bank balance is and do all this stuff.

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Speaker 10: Right.

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Speaker 1: So the record label gives you as an artist a

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portal to sign into. But I guess there was one

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point where Olympus gets this sounds so we're talking about

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this huge, you know, multimillion dollar company here, right. But

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they create a portal and they give and so the

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artist actually gets you know, a username and password basically

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to sign into their portal where they can look at

291
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all their stuff. The idea being, you know, you can

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see what your recoupment balance is, how much is left

293
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on your recoupment, what royalties are owed to you. You know,

294
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you can compare these numbers. And I guess limpis gets

295
00:21:56,000 --> 00:21:59,480
portal wasn't working correctly, or hadn't been updated or something

296
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just weird stuff. Well, we're talking about a multimillion dollar

297
00:22:03,400 --> 00:22:07,160
company here, right, umg is a huge company, but they

298
00:22:07,240 --> 00:22:10,759
can't get the little things right to even make it

299
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so that limp Biscuit as a business entity, can see

300
00:22:15,000 --> 00:22:21,160
what's going on with their account. And but the suspicion is,

301
00:22:21,400 --> 00:22:24,920
well that's intentional. Of course, they make it hard because

302
00:22:24,920 --> 00:22:27,640
they're trying to hide things. They're trying to hide things

303
00:22:27,720 --> 00:22:29,359
from you. They don't want you to see what the

304
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real numbers are.

305
00:22:30,759 --> 00:22:34,119
Speaker 7: And the other side of that too, that you forget about.

306
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Is that the longer that UMG has the money in

307
00:22:37,200 --> 00:22:39,559
their bank account, the more money it's making for them,

308
00:22:39,720 --> 00:22:44,240
right and exactly exactly. Insurance companies do the same thing.

309
00:22:44,400 --> 00:22:46,319
The longer it takes that they have to pay out,

310
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the more money they make.

311
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Speaker 1: Yes, yeah, of course it's yeah, it's a dirty business.

312
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Speaker 7: So makes you wonder if there wouldn't be some way

313
00:22:57,240 --> 00:22:59,240
to prevent that, Like, could there be some way to

314
00:23:00,160 --> 00:23:06,559
protect artists and in law that precludes them from being

315
00:23:06,640 --> 00:23:09,079
able to pulled onto money like that?

316
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Speaker 1: We've that mic up a little bit, would you? Uh

317
00:23:12,000 --> 00:23:15,039
so I'm not loud enough. Yeah, there you go.

318
00:23:15,240 --> 00:23:17,359
Speaker 7: This is something that we don't normally experience.

319
00:23:17,440 --> 00:23:17,799
Speaker 8: There you go.

320
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Speaker 1: But uh yeah, and that so that one million dollars,

321
00:23:22,640 --> 00:23:25,079
it was roughly one million that they finally paid Limp

322
00:23:25,119 --> 00:23:29,640
Biscuit in September of this year of this year, twenty

323
00:23:29,720 --> 00:23:33,680
twenty four, after after they started making noise about hey,

324
00:23:33,759 --> 00:23:38,480
we haven't been paid anything that that they they claim

325
00:23:38,599 --> 00:23:41,200
that the reason that wasn't paid, it should have been paid,

326
00:23:41,279 --> 00:23:43,880
but the reason that wasn't was because of a software error.

327
00:23:45,079 --> 00:23:48,279
So because of a software error that that one million

328
00:23:48,359 --> 00:23:50,960
dollars just sat there and hadn't gone to the band

329
00:23:51,079 --> 00:23:56,240
yet again. Universal Music Group, this enormous, multimillion dollar company.

330
00:23:57,599 --> 00:24:01,200
But you know, like it's it's hard. I mean, this

331
00:24:01,319 --> 00:24:02,000
will all.

332
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Speaker 7: The blaming game too. It's a blaming game because UMG

333
00:24:06,519 --> 00:24:09,400
is saying, oh no, that this is your management's fault,

334
00:24:10,440 --> 00:24:14,720
that your your bit manager wasn't like keeping track of things.

335
00:24:14,839 --> 00:24:20,200
It's not us, because they're saying that they can show

336
00:24:20,359 --> 00:24:24,400
for over a year they were having good communications with

337
00:24:25,240 --> 00:24:28,319
this guy Paul, who's in charge of the manager, but

338
00:24:28,440 --> 00:24:32,000
the business manager, and that they were keeping in contact

339
00:24:32,039 --> 00:24:34,920
with him, and it's all about them not you know,

340
00:24:36,240 --> 00:24:40,000
it's interesting how they try to like go, oh, look

341
00:24:40,039 --> 00:24:42,680
over here, your guy wasn't keeping track of things, so

342
00:24:42,799 --> 00:24:45,759
never mind us, Like, look over, it's your guy's fault,

343
00:24:45,839 --> 00:24:48,000
he didn't keep track of things, so it's not our

344
00:24:48,079 --> 00:24:51,039
fault for not paying you. You know, that's like so

345
00:24:51,279 --> 00:24:53,640
twisted that that's what they walk in with and that's

346
00:24:53,680 --> 00:24:59,759
actually considered a possibility, Like how does that even get entertained? Oh,

347
00:25:00,000 --> 00:25:02,079
your guy wasn't paying attention, so we got away with

348
00:25:02,200 --> 00:25:07,119
keeping more money. So hahaha, this seems wrong. Maybe I'm

349
00:25:07,160 --> 00:25:09,440
reading it wrong, but that's pretty much. What it sounds

350
00:25:09,480 --> 00:25:12,319
like they're trying to indicate with me is we didn't

351
00:25:12,319 --> 00:25:14,359
conceal anything. You guys just didn't keep.

352
00:25:14,240 --> 00:25:16,000
Speaker 1: Track of it, right right.

353
00:25:17,319 --> 00:25:17,720
Speaker 11: This is.

354
00:25:19,359 --> 00:25:23,880
Speaker 1: And sometimes it's not always necessarily malfeasance. Sometimes somebody just

355
00:25:23,960 --> 00:25:28,200
signs a bad deal or or people get in over

356
00:25:28,240 --> 00:25:30,720
their heads they don't understand how this all works. Remember

357
00:25:31,000 --> 00:25:35,240
when TLC, this is probably one of the greatest examples.

358
00:25:36,240 --> 00:25:39,359
When TLC. You know, that first album, Crazy Sexy Cool

359
00:25:39,519 --> 00:25:44,200
was huge. It's sold a gazillion copies, right, well, I

360
00:25:44,240 --> 00:25:46,640
think it was triple platinum, but it seems like it

361
00:25:46,759 --> 00:25:49,200
was because CLC was everywhere. It seems like the album

362
00:25:49,319 --> 00:25:51,680
was h you know, I think he sold three million.

363
00:25:52,440 --> 00:25:58,640
But they were broke with a triple platinum album because

364
00:25:58,680 --> 00:26:02,000
of the way the contract was structured and the recruitment,

365
00:26:02,039 --> 00:26:06,680
they weren't getting any royalties and they and they were

366
00:26:06,799 --> 00:26:09,759
very public about it, and they got their deal renegotiated

367
00:26:09,839 --> 00:26:12,599
because because they were very public about it, like they were,

368
00:26:13,039 --> 00:26:16,319
they were not shy about talking about what was going on.

369
00:26:16,559 --> 00:26:19,000
But they're you know, they're at the Grammys, you know,

370
00:26:19,200 --> 00:26:21,759
getting an award for Best New Album or whatever it was,

371
00:26:21,880 --> 00:26:24,440
and they're like and they're like, yeah, we we have

372
00:26:24,640 --> 00:26:27,839
no money and and we've sold three million copies of

373
00:26:27,920 --> 00:26:33,559
our album and we're broke, and and that's that's one

374
00:26:33,599 --> 00:26:37,720
of the most well publicized examples because I think because

375
00:26:37,720 --> 00:26:40,000
they were so public about it, because a lot of

376
00:26:40,079 --> 00:26:44,279
times too, you learn about these things later on because

377
00:26:44,319 --> 00:26:46,799
at the time that it's happening to an artist, they

378
00:26:46,839 --> 00:26:49,640
don't necessarily want to go public about it because they

379
00:26:49,680 --> 00:26:51,559
don't want, you know, they don't want to deal with

380
00:26:51,640 --> 00:26:55,119
the embarrassment of it. You know, Oh, I got I

381
00:26:55,319 --> 00:26:59,200
kind of got screwed here or whatever. My favorite band.

382
00:26:59,279 --> 00:27:04,359
Of course, as longtime listeners know, Kiss they actually sued PolyGram.

383
00:27:04,440 --> 00:27:06,680
They were on PolyGram. This was in the early eighties,

384
00:27:08,480 --> 00:27:11,359
very early eighties. This was like when they were making

385
00:27:11,400 --> 00:27:15,240
the transition from makeup to non makeup, and they sued

386
00:27:15,279 --> 00:27:20,319
PolyGram for back royalties and they got a settlement over it,

387
00:27:20,400 --> 00:27:23,039
although it was kind of it was kind of small,

388
00:27:24,359 --> 00:27:29,599
but they did get something from it. But we should

389
00:27:29,640 --> 00:27:31,960
look at so the other thing about this though.

390
00:27:31,880 --> 00:27:34,359
Speaker 7: This isn't just Limp Biscuit. And I didn't even realize

391
00:27:34,400 --> 00:27:37,160
this until looking back on the notes now that there's

392
00:27:37,200 --> 00:27:40,680
another organization that apparently owes some of this, owns some

393
00:27:40,839 --> 00:27:44,079
of the copyright, the Flawless Records. It's called yeah, so

394
00:27:44,160 --> 00:27:47,799
apparently that's his imprint, by the way, So what do

395
00:27:47,839 --> 00:27:48,680
you mean is imprint?

396
00:27:48,839 --> 00:27:51,200
Speaker 1: So there was this thing it started happening in the

397
00:27:51,319 --> 00:27:54,759
nineties where some artists would if they were on a label,

398
00:27:55,319 --> 00:27:58,039
the label would give the artist if they were interested

399
00:27:58,079 --> 00:28:01,240
in developing other artists, they would give them almost like

400
00:28:01,319 --> 00:28:04,640
a sub label, oh, which is part of the bigger label,

401
00:28:04,680 --> 00:28:07,319
and they would call that an imprint. So Flawless Records

402
00:28:07,480 --> 00:28:10,920
was Fred Durst's imprint, and he actually did break a

403
00:28:11,000 --> 00:28:15,000
couple of bands on his imprint label.

404
00:28:15,119 --> 00:28:18,640
Speaker 7: Well, it's just interesting that you noted they gave Limp

405
00:28:18,680 --> 00:28:22,759
Biscuit a million. Well, they gave another two million the

406
00:28:22,839 --> 00:28:25,559
Flawless Records. But we don't really owe you any money.

407
00:28:25,599 --> 00:28:29,079
It's made up. They're claiming you've made this up. Yeah,

408
00:28:29,279 --> 00:28:32,720
but we're dishing out over three million more dollars. Ooh, sorry,

409
00:28:33,240 --> 00:28:36,119
you know, just some money, but we didn't really do anything.

410
00:28:36,200 --> 00:28:37,759
Speaker 1: It's faked spaghetti accounting.

411
00:28:38,039 --> 00:28:39,720
Speaker 7: How the heck does that work in law?

412
00:28:39,839 --> 00:28:40,000
Speaker 4: Though?

413
00:28:40,680 --> 00:28:44,559
Speaker 7: How do you how do you say this is all

414
00:28:44,640 --> 00:28:47,039
made up? And then you're paying money out the other side.

415
00:28:47,160 --> 00:28:50,440
But it's like it's like I'm guilty, but I'm not guilty.

416
00:28:50,680 --> 00:28:55,039
Speaker 1: Right, Well, I think I think probably they would say, uh,

417
00:28:55,240 --> 00:28:57,559
flawless records. I mean that's a separate account from the

418
00:28:57,640 --> 00:29:02,799
limp biscuit account. In fact, flawless records. Probably they probably

419
00:29:02,880 --> 00:29:06,240
have a separate username and password for their their their

420
00:29:06,279 --> 00:29:07,759
big fancy portal.

421
00:29:09,200 --> 00:29:10,680
Speaker 7: Two factor identification.

422
00:29:11,000 --> 00:29:13,680
Speaker 1: Yes, it's probably very, very up to date.

423
00:29:14,160 --> 00:29:16,799
Speaker 7: I'm sure it operates much like insurance portals.

424
00:29:16,839 --> 00:29:17,000
Speaker 4: You know.

425
00:29:17,119 --> 00:29:19,720
Speaker 7: It's like you want to appeal that. Okay, get a

426
00:29:19,799 --> 00:29:21,960
pen and paper. Let's sit down and write an old

427
00:29:22,039 --> 00:29:24,839
fashioned letter. Nothing electronic about this.

428
00:29:25,200 --> 00:29:26,680
Speaker 1: Yeah, send us a certified letter.

429
00:29:27,079 --> 00:29:28,440
Speaker 7: Meanwhile, give us your money.

430
00:29:28,720 --> 00:29:30,319
Speaker 1: Maybe maybe you'll get your royalties.

431
00:29:30,519 --> 00:29:31,960
Speaker 7: You don't even have to put your card and just

432
00:29:32,039 --> 00:29:35,440
skin it. I'll take your money very easily. Yeah, but

433
00:29:35,559 --> 00:29:36,400
not the other way around.

434
00:29:38,400 --> 00:29:39,440
Speaker 4: So this is the update.

435
00:29:39,799 --> 00:29:42,200
Speaker 1: This is from billboard dot com. UMG hits back at

436
00:29:42,200 --> 00:29:46,119
Olympus gets two hundred million dollar lawsuit, calls hidden royalty

437
00:29:46,160 --> 00:29:51,240
accusations fiction. It says here UMG is firing back at

438
00:29:51,240 --> 00:29:53,720
a lawsuit from Olympus at front Manfred Durst claiming the

439
00:29:53,799 --> 00:29:56,599
label owes the band more than two hundred million dollars,

440
00:29:57,079 --> 00:30:00,680
calling the allegation's fiction and demanding maybe three out of court.

441
00:30:01,039 --> 00:30:04,440
The blockbuster lawsuit, filed last month in LA federal court,

442
00:30:04,599 --> 00:30:08,240
claimed that Durst had not seen a diamond royalties over

443
00:30:08,279 --> 00:30:11,160
the decades, and that hundreds of other artists may have

444
00:30:11,240 --> 00:30:16,519
been treated similarly under systemic and fraudulent policies. But in

445
00:30:16,680 --> 00:30:21,119
UMG's first response, this is UMG's they're finally responding to

446
00:30:21,200 --> 00:30:24,799
this officially after several months, well a couple months. In

447
00:30:24,880 --> 00:30:27,680
their first response on Friday, attorneys for the label said

448
00:30:27,680 --> 00:30:30,799
the lawsuit must be dismissed immediately because it is based

449
00:30:30,839 --> 00:30:38,960
on a fallacy. Writers. Rolin A. Ransom, an attorney with

450
00:30:39,039 --> 00:30:43,079
the law firm Sidley Austen who represents UMG in the suit, said, quote,

451
00:30:43,480 --> 00:30:47,000
plaintiff's entire narrative that UMG tried to conceal royalties is

452
00:30:47,079 --> 00:30:51,480
a fiction. Plaintiff's complaint fails as a matter of law

453
00:30:51,839 --> 00:30:55,039
and should be dismissed with prejudice unquote. The key problem

454
00:30:55,119 --> 00:30:59,279
with Durst's claims, according to UMG's attorneys, it's that documents

455
00:30:59,319 --> 00:31:03,720
included in his own lawsuit eviscerate his allegations. They specifically

456
00:31:03,799 --> 00:31:06,920
cite emails in which a UMG exec appears to have

457
00:31:07,000 --> 00:31:10,440
reached out to get royalties flowing, but was rebuffed by

458
00:31:10,519 --> 00:31:14,759
the band's own business manager. Yeah. I remember reading that

459
00:31:14,920 --> 00:31:19,319
part too, and that doesn't make sense, like why would

460
00:31:19,400 --> 00:31:24,599
that even happen, But that's that's what they're claiming now.

461
00:31:24,640 --> 00:31:27,480
The company also said in Friday's filing, quote, over a

462
00:31:27,640 --> 00:31:33,960
year before plaintiff's discovery of allegedly concealed royalties, UMG affirmatively

463
00:31:34,079 --> 00:31:37,920
and unilaterally reached out to Olympis guits representative so that

464
00:31:38,039 --> 00:31:40,799
it could begin making royalty payments to the band, and

465
00:31:41,000 --> 00:31:43,519
was instead informed by him that all members of Olympis

466
00:31:43,559 --> 00:31:48,240
Gut but one, including plaintiff Durst, had assigned their royalty

467
00:31:48,279 --> 00:31:51,960
shares to others and were therefore not entitled any royalty

468
00:31:52,000 --> 00:31:53,759
payments from UMG. Unquote.

469
00:31:54,720 --> 00:31:56,720
Speaker 7: So it's not that I owe you money, it's that

470
00:31:56,960 --> 00:31:59,799
you're not. I don't. You don't actually have the right

471
00:32:00,039 --> 00:32:01,880
assume me. So even the way all your money, I'm

472
00:32:01,880 --> 00:32:03,720
not going to give it to you. I don't know,

473
00:32:03,839 --> 00:32:05,720
don't alst, I don't know. That's what it feels like,

474
00:32:06,000 --> 00:32:08,640
but you were right. There's another notation I just found

475
00:32:08,720 --> 00:32:14,319
on Music Business World that it's also involving other artists. Yeah,

476
00:32:14,960 --> 00:32:18,720
from that Durst did have under flawless records. Yeah, yeah,

477
00:32:19,000 --> 00:32:22,160
so it's not just Lumbiscuit, it's other bands music as well.

478
00:32:22,319 --> 00:32:24,839
Speaker 1: Doesn't mention who are there anything it does it does

479
00:32:24,920 --> 00:32:29,319
It just says other because there's at least one one

480
00:32:29,440 --> 00:32:32,039
band that that he broke, that broke big, that had

481
00:32:32,079 --> 00:32:33,680
a big hit, and I can't remember who it was now.

482
00:32:35,240 --> 00:32:37,680
So in a statement to Billboard on Monday, Durst lawyers

483
00:32:37,920 --> 00:32:41,000
sharply refuted the arguments made in UMG's motion to dismiss

484
00:32:41,039 --> 00:32:46,079
the case. Attorney Mark Fabiani said, quote, when someone has

485
00:32:46,119 --> 00:32:48,759
caught red handed, their first response is often to hire

486
00:32:48,920 --> 00:32:51,960
very expensive outside law firms who first, as a matter

487
00:32:52,039 --> 00:32:55,240
of course, try anything to dismiss the suit when they

488
00:32:55,279 --> 00:32:58,000
are in trouble with the facts. In this case, we

489
00:32:58,079 --> 00:33:02,480
believe UMG is using a typical, formulaic, well trodden strategy

490
00:33:03,000 --> 00:33:06,839
of reaching for any escape route by desperately grasping at

491
00:33:06,920 --> 00:33:12,759
technicalities unquote. Durst and Lymbiscuit sued UMG in October, claiming

492
00:33:12,799 --> 00:33:16,039
that the band had quote never received any royalties from

493
00:33:16,160 --> 00:33:19,039
UMG unquote despite its huge success over the years, quote,

494
00:33:19,079 --> 00:33:21,880
the band had still not been paid a single cent

495
00:33:22,319 --> 00:33:26,079
by UMG in any royalties until taking action unquote.

496
00:33:27,400 --> 00:33:34,920
Speaker 7: So interestingly, Dearth is the sole owner of Flawless Records. Interestingly,

497
00:33:36,599 --> 00:33:39,599
I think I may have.

498
00:33:41,200 --> 00:33:43,000
Speaker 1: When I was talking about how an imprint works, I

499
00:33:43,359 --> 00:33:46,680
may have misspoken. It's not like it's a part of

500
00:33:46,839 --> 00:33:51,480
the label, but it's so because there were a number

501
00:33:51,480 --> 00:33:53,920
of artists who who did this. This was a thing

502
00:33:53,960 --> 00:33:57,720
in the nineties and into the two thousands, like I

503
00:33:57,799 --> 00:34:00,359
think jay Z had an imprint and some others. So

504
00:34:01,119 --> 00:34:05,400
it's it's like a separate record label, but the major

505
00:34:05,519 --> 00:34:09,559
label that the imprint is associated with handles all the distribution.

506
00:34:10,800 --> 00:34:16,880
So even though the imprint kind of is kind of

507
00:34:17,000 --> 00:34:22,880
is an independent label, in a sense, the major label

508
00:34:22,920 --> 00:34:27,119
that's associated with does well. The imprint gets used the

509
00:34:27,159 --> 00:34:33,719
major label's entire distribution pipeline and whatever other promotional resources

510
00:34:33,800 --> 00:34:38,280
are available. So that makes sense. And I think Gene Simmons,

511
00:34:38,360 --> 00:34:40,280
by you know, I mentioned Kiss earlier, Gene Simmons had

512
00:34:40,280 --> 00:34:44,920
an imprint label actually before it was even really a thing,

513
00:34:45,239 --> 00:34:49,280
in the eighties, he had an I think I think

514
00:34:49,320 --> 00:34:51,320
it was. It was just called Simmons Records. I think

515
00:34:51,320 --> 00:34:54,400
it was. It was before imprints were really a thing.

516
00:34:54,679 --> 00:34:57,039
Speaker 7: But did he did he ever break anybody?

517
00:34:57,360 --> 00:35:01,000
Speaker 1: No, it didn't last. Tried a lot of things in

518
00:35:01,039 --> 00:35:05,280
the eighties that didn't last, Like he tried producing other

519
00:35:05,440 --> 00:35:07,039
artists and you know, and of course he had a

520
00:35:07,039 --> 00:35:08,719
short lived acting career, and.

521
00:35:08,840 --> 00:35:11,159
Speaker 7: You would think that would have made more money than Lunchbox.

522
00:35:11,920 --> 00:35:14,639
Speaker 1: But no, oh no, well, oh no, no, no, no,

523
00:35:17,400 --> 00:35:19,519
it says here. The claim was something of a stunner.

524
00:35:20,119 --> 00:35:22,360
How had one of the biggest bands of its era,

525
00:35:23,320 --> 00:35:26,719
which sold millions of records during the music industry's MTV

526
00:35:26,880 --> 00:35:29,840
fueled Turn of the century glory days, Because remember we're

527
00:35:29,840 --> 00:35:32,559
talking late nineties into the early two thousands, how did

528
00:35:32,599 --> 00:35:36,920
they still never have been paid any royalties nearly three

529
00:35:37,119 --> 00:35:42,599
decades later. According to Durst, the answer was an appalling

530
00:35:42,760 --> 00:35:45,960
and unsettling scheme to conceal royalties from artists and keep

531
00:35:46,039 --> 00:35:50,239
those profits for itself. He claimed the company essentially kept

532
00:35:50,360 --> 00:35:54,159
Limpiskit in the red with shady bookkeeping, allowing it to

533
00:35:54,239 --> 00:35:59,119
falsely claim the band remained unrecouped, meaning its royalties still

534
00:35:59,199 --> 00:36:01,519
had not surpass the amount the group had been paid

535
00:36:01,960 --> 00:36:04,920
in upfront advances. In other words, the advance had not

536
00:36:05,039 --> 00:36:08,760
been the advances because an advance for each album had

537
00:36:08,800 --> 00:36:10,199
not been paid back. According But the.

538
00:36:10,199 --> 00:36:13,000
Speaker 7: Bulk of the main thrust of the claim was that

539
00:36:13,159 --> 00:36:16,920
they sold like forty five million albums and never got

540
00:36:16,960 --> 00:36:20,880
a dime of royalty. Yeah until they filed a lawsuit. Yeah,

541
00:36:21,159 --> 00:36:23,320
then they got money. But now they're still saying, no,

542
00:36:23,400 --> 00:36:24,079
you made that up.

543
00:36:24,559 --> 00:36:27,960
Speaker 1: Well or until they well, yeah, well until they until

544
00:36:28,000 --> 00:36:30,639
they started making noise about it because they got that million.

545
00:36:31,000 --> 00:36:33,559
UMG finally gave them that million back in September, but

546
00:36:33,679 --> 00:36:35,400
the suit was actually filed in October.

547
00:36:35,639 --> 00:36:38,559
Speaker 7: No, but the motion to dismiss they filed was November

548
00:36:38,599 --> 00:36:42,800
twenty second, So that just happened. You just filed the

549
00:36:42,880 --> 00:36:44,639
motion to dismiss.

550
00:36:44,840 --> 00:36:46,079
Speaker 1: Right, they're just now responding.

551
00:36:46,159 --> 00:36:49,800
Speaker 7: But quote unquote, because the complaint is based on a fallacy,

552
00:36:50,480 --> 00:36:52,719
how do you say that after you just handed out

553
00:36:52,800 --> 00:36:55,960
three million dollars? Like, I don't get that, Well, how

554
00:36:56,119 --> 00:36:59,559
is that a viable motion after you just handed over

555
00:36:59,599 --> 00:37:00,000
three mins?

556
00:37:00,360 --> 00:37:02,320
Speaker 1: Well, but I think they're saying that's all that's all

557
00:37:02,360 --> 00:37:05,920
they were owed, you know, the million, the million to

558
00:37:06,159 --> 00:37:07,559
um Biscuit that's all.

559
00:37:07,639 --> 00:37:09,639
Speaker 7: Then the two million to the record to the label.

560
00:37:09,800 --> 00:37:12,239
Speaker 1: Yeah, well that's kind of a separate thing the sub label.

561
00:37:12,400 --> 00:37:14,480
Speaker 7: Yeah it is, but it isn't because there's is a

562
00:37:14,519 --> 00:37:18,400
Stone owner, So technically he's the dude on both ends. Yeah,

563
00:37:18,599 --> 00:37:21,760
he's getting the three mil. It's just under two different names.

564
00:37:22,039 --> 00:37:24,440
Speaker 1: Yeah, it is strange that his imprint label would have

565
00:37:24,599 --> 00:37:27,880
more money coming to it than you know, the band

566
00:37:28,199 --> 00:37:32,880
he's in that sold for forty five million records, right yeah.

567
00:37:33,000 --> 00:37:35,760
Speaker 7: Yeah, well it because goes to back up everything we've

568
00:37:35,760 --> 00:37:39,519
been talking about. Ye, how these companies really have ripped

569
00:37:39,519 --> 00:37:42,400
off artists for a really long time. Yeah, I mean

570
00:37:42,440 --> 00:37:44,800
what do they artists get? What's an artist get these days?

571
00:37:44,840 --> 00:37:48,679
If they're streaming like less than a quarter of a

572
00:37:48,800 --> 00:37:53,199
penny or something like that, Like they there's no they

573
00:37:53,599 --> 00:37:56,360
have to have a ridiculous number of plays before they

574
00:37:56,400 --> 00:37:58,199
can even make enough money to pay for a meal.

575
00:37:58,480 --> 00:38:01,800
Speaker 1: Yeah, it's barely anything. Spotify doesn't a lot of art.

576
00:38:01,880 --> 00:38:04,760
Speaker 7: Yeah, they won't put their stuff on Spotify because it

577
00:38:04,840 --> 00:38:06,800
is a big rip off for them. Yeah, they don't

578
00:38:06,800 --> 00:38:08,519
get anything out of it. But on the other hand,

579
00:38:09,039 --> 00:38:11,599
if everybody's using Spotify and you don't put your music

580
00:38:11,679 --> 00:38:14,280
on there. You know, it's a catch twenty two for

581
00:38:14,360 --> 00:38:16,679
an artist. You want to be heard, but you also

582
00:38:16,719 --> 00:38:20,039
want to get paid, you know. It's kind of the

583
00:38:20,320 --> 00:38:22,880
part of the point. Yes, sharing music is wonderful, but

584
00:38:22,960 --> 00:38:25,920
it's also about getting paid as an artist. To everything

585
00:38:25,960 --> 00:38:27,119
you bring to the table.

586
00:38:29,559 --> 00:38:32,880
Speaker 8: There is there is this.

587
00:38:34,840 --> 00:38:38,400
Speaker 1: There is a certain truth though. So another thing people

588
00:38:38,480 --> 00:38:41,880
probably don't know who aren't in the industry is that

589
00:38:42,679 --> 00:38:46,519
it's really always been the case to some degree that

590
00:38:46,840 --> 00:38:52,719
artists don't make that much in simple royalties in the

591
00:38:52,800 --> 00:38:58,000
sense that like I remember I remember Meat Loaf talking

592
00:38:58,079 --> 00:39:01,320
in an interview once about how you know, like like

593
00:39:01,440 --> 00:39:04,360
when Bad Out of Hell, which I have no idea

594
00:39:04,400 --> 00:39:07,880
at this point, how many millions of uh. I mean,

595
00:39:07,920 --> 00:39:11,159
it's probably surpassed one hundred million albums sold by now,

596
00:39:11,320 --> 00:39:14,280
But I remember early in his career he was talking

597
00:39:14,280 --> 00:39:17,000
about how little money he got, you know, like like

598
00:39:17,880 --> 00:39:21,239
pennies per units sold The Bad Out of Hell. But

599
00:39:21,800 --> 00:39:26,760
the truth is the real money, for a very long time,

600
00:39:28,039 --> 00:39:31,400
the real money has been in touring. You know, you

601
00:39:31,519 --> 00:39:33,679
can you can make a lot of money on tour,

602
00:39:34,079 --> 00:39:36,519
a lot more money on tour than actual than actual

603
00:39:36,639 --> 00:39:41,960
sales as as albums right, which is why some artists

604
00:39:42,039 --> 00:39:50,000
tour so much. For example, when Jerry Garcia died. I

605
00:39:50,119 --> 00:39:51,800
remember I was never a big dead head, so I

606
00:39:51,880 --> 00:39:55,719
didn't I didn't even realize this. But when when Jerry

607
00:39:55,760 --> 00:40:00,440
Garcia died, I was reading about how because people I wondered,

608
00:40:00,519 --> 00:40:03,719
why why did he keep touring so much? Because apparently

609
00:40:03,760 --> 00:40:05,440
toward the end of his life there were people close

610
00:40:05,480 --> 00:40:08,000
to him who wanted him to stop because his health

611
00:40:08,119 --> 00:40:10,679
was failing, and people wanted him to take a break.

612
00:40:10,719 --> 00:40:12,719
They wanted him to stop touring, whether it was with

613
00:40:13,079 --> 00:40:16,880
The Grateful Dead or the Jerry Garcia Band, and he

614
00:40:17,039 --> 00:40:21,360
just kept going because you sometimes these artists get to

615
00:40:21,400 --> 00:40:24,320
a point where they can't afford to stop, because you

616
00:40:24,400 --> 00:40:27,880
stop and then the money stops. And if you have

617
00:40:29,000 --> 00:40:33,199
an entire organization to pay for, you're not just supporting yourself,

618
00:40:33,679 --> 00:40:37,920
but you've got managers and lawyers and got many jobs

619
00:40:38,000 --> 00:40:43,079
there many people. You know, these organizations become bloated, and

620
00:40:43,880 --> 00:40:46,320
you know, you might have touring staff who you want

621
00:40:46,400 --> 00:40:48,880
to keep on retainer even when you're not touring, so

622
00:40:49,079 --> 00:40:51,239
that they don't go off and work for somebody else.

623
00:40:51,320 --> 00:40:53,000
When you're not touring, and then you can't get them

624
00:40:53,039 --> 00:40:55,360
back for your tour, so you might be paying them

625
00:40:55,360 --> 00:40:57,119
all year round, even when you're not active.

626
00:40:57,800 --> 00:40:59,280
Speaker 7: So I thought that way.

627
00:40:59,599 --> 00:41:04,320
Speaker 1: Yeah, So a lot of artists, you know, they tour

628
00:41:04,480 --> 00:41:08,079
so much because it becomes a situation where they cannot

629
00:41:08,119 --> 00:41:10,480
afford not to, like they can't get off of the

630
00:41:10,639 --> 00:41:13,760
road because it ends up costing more to be off

631
00:41:13,880 --> 00:41:15,480
the road than on the road.

632
00:41:15,639 --> 00:41:18,599
Speaker 7: That makes sense, It certainly doesn't make sense because that's

633
00:41:18,599 --> 00:41:21,199
where you're gonna make your money. Ye, not just ticket sales,

634
00:41:21,239 --> 00:41:21,719
but march.

635
00:41:22,159 --> 00:41:28,400
Speaker 1: Yeah, you know, and now touring has become more expensive,

636
00:41:28,599 --> 00:41:32,880
and so it's kind of become a situation now where

637
00:41:33,199 --> 00:41:37,400
it's it's hard to tour, it's harder to tour. So

638
00:41:38,199 --> 00:41:41,559
look at now the money's made more with merch than anything.

639
00:41:41,960 --> 00:41:45,119
Speaker 7: Look at the guests we had recently, Green and Yellow, right,

640
00:41:45,480 --> 00:41:49,079
they're constantly touring. And not only are they constantly touring,

641
00:41:49,440 --> 00:41:51,519
they try to keep their expenses down, Like they have

642
00:41:51,800 --> 00:41:55,559
actual school busses that have beds in them so they

643
00:41:55,639 --> 00:41:58,000
can actually sleep on the road, and there's other vans

644
00:41:58,079 --> 00:42:01,199
and the equipment that goes along, so they can keep

645
00:42:01,280 --> 00:42:04,800
their costs down, but they're like constantly touring. They might

646
00:42:04,840 --> 00:42:07,599
get to take a small break of maybe a few

647
00:42:07,679 --> 00:42:11,159
days or you know, but you go check them out

648
00:42:11,199 --> 00:42:15,679
and they're constantly going all around the country Canada. They're

649
00:42:15,840 --> 00:42:18,719
constantly on the move, and you know, you can imagine

650
00:42:18,760 --> 00:42:20,559
it's it would be hard for them to stop because

651
00:42:20,599 --> 00:42:23,280
then the money stops. How do you put gas in

652
00:42:23,320 --> 00:42:26,360
the car if you're not touring, you know, you can't

653
00:42:26,400 --> 00:42:28,360
afford to have the money stop. So it is it's

654
00:42:28,400 --> 00:42:31,320
a vicious circle. You have to really love what you're doing,

655
00:42:31,400 --> 00:42:33,920
that's for sure, which obviously those guys do.

656
00:42:34,039 --> 00:42:34,840
Speaker 1: I mean, if you've never.

657
00:42:34,760 --> 00:42:36,960
Speaker 7: Seen Green Jello when they come back around, you have

658
00:42:37,039 --> 00:42:39,719
to see them. They're amazing in person. They just freaking

659
00:42:39,800 --> 00:42:43,320
amazing and so much fun. If you want to go

660
00:42:43,360 --> 00:42:47,119
to a show that's joy, go see Green Jello. It's

661
00:42:47,199 --> 00:42:50,559
just joy. I know. I thought, you can't help but

662
00:42:50,639 --> 00:42:52,599
feel good at walking away from one of their shows.

663
00:42:52,960 --> 00:42:57,280
But they're constantly in motion, and that constant motion comes

664
00:42:57,360 --> 00:43:00,239
with a lot of expenses because I'll see, oh, what

665
00:43:00,400 --> 00:43:02,239
was it? There was something that went recently. It was

666
00:43:02,360 --> 00:43:05,960
like their their starter and one of the buses went,

667
00:43:06,360 --> 00:43:10,440
so they were fundraising to get the starter repaired because

668
00:43:10,559 --> 00:43:13,280
they're in the middle of a tour, you know. Yeah,

669
00:43:13,440 --> 00:43:16,639
it's a vicious circle. And these guys, especially nowadays, you

670
00:43:16,679 --> 00:43:18,639
don't make you're not making the money off of streaming.

671
00:43:19,119 --> 00:43:21,840
Certainly right now, there is something to be said for

672
00:43:21,920 --> 00:43:25,480
physical media. You know, there can be some money these days.

673
00:43:26,360 --> 00:43:30,800
Records are coming back CD. Yeah, but it's not gonna

674
00:43:30,800 --> 00:43:32,920
be It's never gonna be like it was when we

675
00:43:33,039 --> 00:43:36,320
were younger, no where. The only way you got the

676
00:43:36,519 --> 00:43:39,360
music was to go find it in a store in

677
00:43:39,400 --> 00:43:42,519
a record store and bring it home, or sit in

678
00:43:42,639 --> 00:43:46,039
front of the radio with your fingers ready on record

679
00:43:46,639 --> 00:43:48,840
so you could try to record the song off the radio.

680
00:43:49,039 --> 00:43:51,880
Oh yeah didn't Yeah, we all did, right That was

681
00:43:52,039 --> 00:43:54,280
that was how you got to hear your song, or

682
00:43:54,360 --> 00:43:56,119
you had to wait for it to come back around.

683
00:43:56,840 --> 00:44:00,800
Now we have instant gratification music through streaming. It's just

684
00:44:01,199 --> 00:44:04,800
it's never going to be that again. It's instant gratification.

685
00:44:05,519 --> 00:44:08,400
So really the artists are limited on where they're going

686
00:44:08,480 --> 00:44:11,440
to make their money. It really is in those live venues,

687
00:44:11,559 --> 00:44:15,280
in selling merch at the live venues, and that's really

688
00:44:15,360 --> 00:44:17,719
the only way they're going to sustain themselves off their art.

689
00:44:18,719 --> 00:44:21,599
Speaker 1: That's why a lot of artists get into podcasting too,

690
00:44:21,719 --> 00:44:24,639
although you see it more with stand up comics than

691
00:44:24,679 --> 00:44:28,480
you do with musicians necessarily, but there's you know, if

692
00:44:28,519 --> 00:44:31,800
you're that's the thing, if you're even a tiny bit famous,

693
00:44:32,000 --> 00:44:34,599
you can start a YouTube channel and monetize it, get

694
00:44:34,679 --> 00:44:40,039
monetized quickly and create content that way. Justin Hawkins is

695
00:44:40,239 --> 00:44:42,320
a great example of that from the band The Darkness.

696
00:44:42,400 --> 00:44:46,239
You know, he has a very popular podcast called Justin

697
00:44:46,280 --> 00:44:50,599
Hawkins Rides Again and and it's it's really good. It's

698
00:44:50,599 --> 00:44:53,199
a lot of fun, and it's also very informative because

699
00:44:53,199 --> 00:44:55,199
he delves into a lot of these music industry issues

700
00:44:55,199 --> 00:44:57,079
as well. So that's another one I would recommend if

701
00:44:57,119 --> 00:45:01,239
you're interested in this stuff, Justin Hawkins Rides Again. But yeah,

702
00:45:01,360 --> 00:45:03,679
so a lot of people in the industry have had

703
00:45:03,719 --> 00:45:08,960
to seek other revenue streams, and it's in.

704
00:45:09,119 --> 00:45:12,519
Speaker 7: That really these days, it's in that live concert. It's

705
00:45:12,679 --> 00:45:15,880
in moving those bodies into a venue that you're going

706
00:45:15,960 --> 00:45:16,880
to make the most money.

707
00:45:17,719 --> 00:45:20,159
Speaker 1: Yes, indeed, yes, indeed, and that and that's.

708
00:45:20,039 --> 00:45:24,119
Speaker 7: Harder, it's harder on artists, and it certainly benefits people

709
00:45:24,360 --> 00:45:29,639
like UMG, yeah, obviously, but I really it just kills

710
00:45:29,760 --> 00:45:34,639
me that they pay it all out and then they suddenly, oh,

711
00:45:34,800 --> 00:45:38,760
this is made up. How do you do that? I

712
00:45:38,840 --> 00:45:41,840
don't know. Is it just me that I find that flabby?

713
00:45:43,440 --> 00:45:46,719
It's awful to see what these lengths companies will go

714
00:45:46,880 --> 00:45:49,800
to to rip off the artists that they're making their

715
00:45:49,840 --> 00:45:50,360
money off of.

716
00:45:52,719 --> 00:45:55,280
Speaker 1: Absolutely. So, we are approaching the top of the hour

717
00:45:55,360 --> 00:45:58,159
and I think I think our guests are in the

718
00:45:58,360 --> 00:46:01,599
queue on Skype. So while we're gonna do is, we're

719
00:46:01,639 --> 00:46:04,800
gonna go ahead and show some love to our amazing sponsors.

720
00:46:04,840 --> 00:46:07,000
We'll take a quick break and we're gonna play this

721
00:46:07,159 --> 00:46:10,840
track spinning from the duo Naked Without It, who are

722
00:46:10,880 --> 00:46:13,480
skyping in all the way from the UK. I love

723
00:46:13,519 --> 00:46:16,559
the guy, Yeah, absolutely so. And then so we'll play

724
00:46:16,559 --> 00:46:18,639
that and then we'll bring them in via Skype and

725
00:46:18,760 --> 00:46:21,960
talk with them. So looking forward to that. So we

726
00:46:22,119 --> 00:46:25,239
are crossing the bridge in our number two. Matt Connorton Unleashed.

727
00:46:25,280 --> 00:46:28,000
We are live on wmn H ninety five point three

728
00:46:28,119 --> 00:46:31,400
f M Matt Connorton dot com slash Live. We'll talk

729
00:46:31,440 --> 00:46:32,159
to you in a few minutes.

730
00:46:33,679 --> 00:46:37,079
Speaker 4: W m n H riponomas.

731
00:46:43,280 --> 00:46:53,719
Speaker 9: Well, we'll coup this morning now he wasnd some will

732
00:46:53,840 --> 00:46:57,920
be shining m low you just degree.

733
00:47:02,360 --> 00:47:11,800
Speaker 8: But all my mistress, but still not sure whether they

734
00:47:11,920 --> 00:47:12,760
will take me.

735
00:47:15,159 --> 00:47:15,840
Speaker 12: Look cure.

736
00:47:19,559 --> 00:47:23,360
Speaker 5: Well, I'm sorry if I hurt you. I knew this

737
00:47:23,639 --> 00:47:31,320
had to be done. You could be and everybody's doctor.

738
00:47:32,440 --> 00:47:42,800
Speaker 10: Or anybody's something brother next they fixing me, someone's got up.

739
00:47:42,880 --> 00:47:46,960
Speaker 5: Pay well.

740
00:47:47,079 --> 00:47:51,679
Speaker 8: You came around the corner and my robbins wearing a

741
00:47:51,719 --> 00:47:59,320
wig because its beads beda be dead.

742
00:48:00,800 --> 00:48:08,480
Speaker 11: Spineers speede spine boat some spinis spinis spinny.

743
00:48:09,880 --> 00:48:12,559
Speaker 8: Spine spine is spina.

744
00:48:13,639 --> 00:48:17,159
Speaker 11: Well, as you dance in the road, as you dance

745
00:48:17,440 --> 00:48:20,960
in the streets, I should dunce till my fingers burn,

746
00:48:21,079 --> 00:48:24,760
my skips a beet, I should dance till I say

747
00:48:25,800 --> 00:48:27,320
you can't find a betty.

748
00:48:27,599 --> 00:48:29,519
Speaker 8: As you dunce till you say.

749
00:48:30,039 --> 00:48:34,920
Speaker 10: Be spinning to the yamis a spinech spinis.

750
00:48:36,239 --> 00:48:39,559
Speaker 8: Who has some spinechs spinis spin.

751
00:48:43,119 --> 00:48:47,960
Speaker 10: I didn't know about your sister, I didn't know about

752
00:48:48,039 --> 00:48:48,599
your car.

753
00:48:52,199 --> 00:48:56,400
Speaker 8: I didn't know what you were like. Where now so

754
00:48:56,719 --> 00:48:57,559
you from a bar?

755
00:49:01,519 --> 00:49:06,880
Speaker 5: You came out of the dots jumblelonial man.

756
00:49:10,559 --> 00:49:20,400
Speaker 8: Ah shum, you ain't seen nothing of this kind. Spine

757
00:49:21,119 --> 00:49:23,159
speed speedy.

758
00:49:24,599 --> 00:49:32,000
Speaker 9: Speede speed speed who way some SPEEDE sped speed.

759
00:49:33,679 --> 00:49:36,320
Speaker 8: Speedis speed speedy.

760
00:49:41,159 --> 00:49:44,559
Speaker 1: That is quite catchy. Indeed, that is Naked Without It

761
00:49:45,199 --> 00:49:48,320
from the UK, and we have these guys on with

762
00:49:48,440 --> 00:49:50,239
us via Skype. We're going to introduce them in just

763
00:49:50,360 --> 00:49:52,639
in a moment. This is Matt Connorton Unleashed and we

764
00:49:52,719 --> 00:49:55,559
are live from the studios of w m n H

765
00:49:55,719 --> 00:49:59,440
ninety five point three FM and Glorious Manchester, New Hampshire.

766
00:49:59,719 --> 00:50:01,880
Of You can stream the show at Matt connorton dot

767
00:50:01,960 --> 00:50:04,000
com slash Live. Jenny is here as well at the

768
00:50:04,119 --> 00:50:10,679
news table, president account and joining us via Skype. We

769
00:50:10,760 --> 00:50:14,280
have Tony and Martin from Naked Without It. Hi, guys,

770
00:50:14,320 --> 00:50:14,800
can you hear me?

771
00:50:15,599 --> 00:50:15,719
Speaker 4: Hi?

772
00:50:16,119 --> 00:50:19,079
Speaker 1: We've got yeah, awesome, awesome. It's always a little nerve

773
00:50:19,119 --> 00:50:23,559
wracking with a transcontinental Skype call because it doesn't always

774
00:50:23,639 --> 00:50:27,559
work out, so it's nice when it does. But great,

775
00:50:27,639 --> 00:50:29,679
great to have you guys here with us this morning.

776
00:50:29,760 --> 00:50:32,679
So what what do you each do in Naked Without It?

777
00:50:32,800 --> 00:50:35,239
What are your roles respectively?

778
00:50:36,719 --> 00:50:42,039
Speaker 4: And I play rhythm guitar and I sing okay and

779
00:50:42,159 --> 00:50:45,280
I'm Martin. I play all yellow guitar and do a

780
00:50:45,320 --> 00:50:46,239
bit of BVS as well.

781
00:50:46,360 --> 00:50:50,119
Speaker 1: Yeah, okay, okay, very good, very good. Now that song

782
00:50:50,280 --> 00:50:52,960
spinning is it's very catchy. And I noticed all your

783
00:50:53,480 --> 00:50:56,480
songs are are like that. They're very easy to kind

784
00:50:56,480 --> 00:51:00,639
of sing along to. Has that always been? Has that

785
00:51:00,719 --> 00:51:03,800
always been kind of them? Is of naked without it?

786
00:51:03,880 --> 00:51:05,960
Have you always written songs that are, you know, just

787
00:51:06,159 --> 00:51:08,559
very accessible and just kind of get stuck in your brain?

788
00:51:08,599 --> 00:51:11,239
Has that always been been kind of the approach? Yeah,

789
00:51:11,280 --> 00:51:11,679
we do.

790
00:51:11,880 --> 00:51:13,400
Speaker 12: We do like a chorus and we do like a

791
00:51:13,440 --> 00:51:15,400
sing along, So we do like a sing along when

792
00:51:15,440 --> 00:51:20,119
we play live. And we started when we started out,

793
00:51:20,679 --> 00:51:25,559
well restarted out a few years ago. We did an

794
00:51:25,599 --> 00:51:30,039
online interview during COVID, So we did an online interview

795
00:51:30,199 --> 00:51:32,159
and I can remember, I always say, I can always

796
00:51:32,159 --> 00:51:34,679
remember Martin saying to me at the time, just wait,

797
00:51:34,880 --> 00:51:38,000
we're the entertainment. So it sort of dawned on me

798
00:51:38,119 --> 00:51:40,280
then that, you know, our job really was to entertain

799
00:51:40,440 --> 00:51:42,360
So I've always sort of found there was no point

800
00:51:42,480 --> 00:51:47,000
doing heartfelt songs that people aren't going to catch out.

801
00:51:47,079 --> 00:51:49,039
I suppose there's a place, but but for us, it

802
00:51:49,079 --> 00:51:52,119
doesn't really work. So we're here to entertain, really, and

803
00:51:52,239 --> 00:51:54,960
I think a big chorus is a way of entertaining.

804
00:51:55,519 --> 00:52:01,159
Speaker 1: Yeah, oh absolutely, I'm interested in So these songs that

805
00:52:01,320 --> 00:52:05,679
we're playing, these are from an album called Singles Club.

806
00:52:07,320 --> 00:52:09,639
Now tell me if I have this right. And there's

807
00:52:09,639 --> 00:52:11,960
a specific reason why this is so interesting to me.

808
00:52:13,000 --> 00:52:15,800
This is a series of Did you release these each

809
00:52:15,920 --> 00:52:20,079
individually as singles and then compile them into an album

810
00:52:20,199 --> 00:52:21,159
called Singles Club?

811
00:52:21,320 --> 00:52:21,440
Speaker 2: Is that?

812
00:52:21,719 --> 00:52:22,679
Speaker 1: Was that your approach to this?

813
00:52:23,599 --> 00:52:25,119
Speaker 4: Yeah? You did, Yeah, Okay.

814
00:52:26,000 --> 00:52:29,440
Speaker 1: The reason I'm so curious about it is because this

815
00:52:29,559 --> 00:52:32,480
has been a topic of conversation on the show. You know,

816
00:52:32,719 --> 00:52:35,280
I'm old enough to remember, and I suspect you guys

817
00:52:35,320 --> 00:52:38,159
are too. When there was really kind of a standard

818
00:52:38,199 --> 00:52:40,119
way of doing things. You know, you've got an album

819
00:52:40,239 --> 00:52:43,280
coming out, first single goes to radio maybe six to

820
00:52:43,360 --> 00:52:45,760
eight weeks before the album's coming out. Then the album

821
00:52:45,880 --> 00:52:47,960
comes out, then you have the second single and so forth.

822
00:52:48,320 --> 00:52:51,519
And it was, you know, everybody released albums. Somebody might

823
00:52:51,599 --> 00:52:54,360
occasionally release an EP, but that's sort of the old

824
00:52:54,440 --> 00:52:58,079
record company model. Now we live in an era where,

825
00:52:58,159 --> 00:53:00,199
because of the Internet, there's so many different ways you

826
00:53:00,199 --> 00:53:02,960
can approach it. You can release albums, you can release EPs,

827
00:53:02,960 --> 00:53:04,920
you can just put out singles forever and never release

828
00:53:04,960 --> 00:53:09,320
an album. But I've noticed, especially in the past couple

829
00:53:09,360 --> 00:53:10,719
of years, a lot of the guests that we have,

830
00:53:11,239 --> 00:53:14,719
their approach is, rather than putting out an album and

831
00:53:14,800 --> 00:53:17,639
a series of singles, releasing a series of singles that

832
00:53:17,800 --> 00:53:21,519
eventually become an album. And it seems like you guys

833
00:53:21,559 --> 00:53:23,280
have kind of taken it to a new level where

834
00:53:23,320 --> 00:53:26,159
it's like, that's clearly what this is, because you're calling

835
00:53:26,239 --> 00:53:29,960
the album Singles Club because it's literally a collection of singles,

836
00:53:30,000 --> 00:53:32,559
And I think that's very interesting that you've taken that approach.

837
00:53:33,679 --> 00:53:34,440
Speaker 4: But yeah, exactly.

838
00:53:34,679 --> 00:53:38,440
Speaker 12: We back in twenty twenty two, we were talking about

839
00:53:38,440 --> 00:53:40,199
what we were going to do because we'd done one album.

840
00:53:40,239 --> 00:53:43,000
We did a first album, Habits Far Too Bright, which

841
00:53:43,119 --> 00:53:45,400
was along the same lines, along the normal lines. You know,

842
00:53:45,480 --> 00:53:47,360
we got it all together, we released it as you

843
00:53:47,400 --> 00:53:50,079
should sort of think, and then I sort of we

844
00:53:50,119 --> 00:53:52,639
had a conversation and just sort of said that music's

845
00:53:52,639 --> 00:53:55,199
a bit more immediate now. Nobody sort of wants to

846
00:53:55,239 --> 00:53:58,800
wait for anything. Everything is done straight away. So we

847
00:53:59,000 --> 00:54:02,480
sort of thought, well, we'd we'd we'd instead of instead

848
00:54:02,480 --> 00:54:04,599
of holding things back, what we would do is we

849
00:54:04,639 --> 00:54:08,719
would plan to release a single every six weeks and

850
00:54:08,840 --> 00:54:10,119
then at the end of it we did add the

851
00:54:10,199 --> 00:54:13,119
intention of putting out like the Hard Hard CD version.

852
00:54:14,000 --> 00:54:15,920
Of course, we didn't actually realize because we didn't work

853
00:54:15,960 --> 00:54:18,639
this one out very well. Is that when we decided

854
00:54:18,639 --> 00:54:20,920
that in twenty twenty two to do twelve singles, it

855
00:54:21,000 --> 00:54:23,960
was going to take us seventy two weeks, So we

856
00:54:24,000 --> 00:54:26,599
didn't realize we were actually committing ourselves to a year

857
00:54:26,639 --> 00:54:30,639
and a half's work, which was right recording, you know,

858
00:54:30,679 --> 00:54:35,599
we've got a recording releasing, you know, or the artwork, publicizing,

859
00:54:35,679 --> 00:54:37,119
et cetera, and then we're on to the next one

860
00:54:37,159 --> 00:54:37,360
and on.

861
00:54:37,400 --> 00:54:39,400
Speaker 4: To the next one. But yeah, we did it. We

862
00:54:39,519 --> 00:54:41,639
got we got a little bit random every every now

863
00:54:41,639 --> 00:54:42,000
and again.

864
00:54:42,039 --> 00:54:43,960
Speaker 12: But yeah, seventy two weeks later we ended up with

865
00:54:44,320 --> 00:54:47,119
with the Singles Club album, So yeah, and we're really

866
00:54:47,119 --> 00:54:47,559
happy with it.

867
00:54:48,639 --> 00:54:51,320
Speaker 1: Was that Was that a difficult decision for you both

868
00:54:51,719 --> 00:54:55,559
because obviously, you know, we're all or we all were

869
00:54:56,360 --> 00:54:58,840
used to doing it the old way. I mean, it

870
00:54:59,039 --> 00:55:01,079
was this something did you a lot of thought into

871
00:55:01,960 --> 00:55:03,840
is this really the right way to approach it, or

872
00:55:04,360 --> 00:55:07,800
maybe it instinctively just felt right and obvious to you.

873
00:55:07,920 --> 00:55:09,639
I mean, was that a difficult decision to come to

874
00:55:09,800 --> 00:55:11,000
or or did it come easy.

875
00:55:11,840 --> 00:55:14,639
Speaker 13: I think we thought that, you know, like, because people

876
00:55:14,800 --> 00:55:18,079
generally will stream a song or they like a songs,

877
00:55:18,079 --> 00:55:20,440
so we thought, if we just keep giving them songs,

878
00:55:20,719 --> 00:55:23,119
you know, spaced out rather than just all together, then

879
00:55:23,119 --> 00:55:25,760
there's more chats that they might listen to more of

880
00:55:25,840 --> 00:55:27,679
what we do rather than here's an album or that

881
00:55:27,760 --> 00:55:29,920
what's the single, I'll listen to that and ignore the rest.

882
00:55:30,000 --> 00:55:32,519
Speaker 4: So yeah, and it just it just kept it fresh

883
00:55:32,599 --> 00:55:33,159
for us as well.

884
00:55:33,199 --> 00:55:34,880
Speaker 13: And it was a good, you know, kind of time

885
00:55:34,920 --> 00:55:37,079
to keep working on things and you can change things

886
00:55:37,280 --> 00:55:39,280
is you know, as you know, you can start with

887
00:55:39,320 --> 00:55:41,280
a song, but then over time it might evolve into

888
00:55:41,320 --> 00:55:44,039
something slightly differently. So with a six week gap, if

889
00:55:44,079 --> 00:55:46,320
you like, in between what we were doing, we did

890
00:55:46,440 --> 00:55:48,480
have that luxury of saying, well, actually, maybe we should

891
00:55:48,559 --> 00:55:50,239
change this a little bit and we can try things

892
00:55:50,280 --> 00:55:52,599
out and you know, give a few different ideas. So

893
00:55:52,880 --> 00:55:54,840
from a you know, from actually a creative point of view,

894
00:55:54,880 --> 00:55:57,559
it was quite helpful rather than we have to get

895
00:55:57,599 --> 00:55:59,880
the album done within this amount of time and then

896
00:56:00,000 --> 00:56:02,480
once it's done, that's it. Whereas with this, you know

897
00:56:02,480 --> 00:56:05,079
you're only doing it one song at a time essentially,

898
00:56:05,199 --> 00:56:07,239
So yeah, we had a bit more bit more flexibility.

899
00:56:07,360 --> 00:56:09,480
Speaker 12: So yeah, and we had a bit of engagement from

900
00:56:09,639 --> 00:56:11,320
like the people that come and see us play because

901
00:56:11,360 --> 00:56:14,280
of course they knew something was coming in six weeks time,

902
00:56:14,400 --> 00:56:17,519
so people we're asking us when the next one's due,

903
00:56:17,519 --> 00:56:20,519
when's the next one jew which which was nice. So yeah,

904
00:56:20,840 --> 00:56:21,679
kept us on our toes.

905
00:56:21,719 --> 00:56:23,880
Speaker 1: Really, yeah, I can see how it would be kind

906
00:56:23,880 --> 00:56:26,079
of liberating to to be able to approach it this way.

907
00:56:26,440 --> 00:56:28,400
And something else too that we talk a lot about

908
00:56:28,480 --> 00:56:33,280
on the show is the importance of adaptability to a

909
00:56:33,440 --> 00:56:37,239
constantly changing music industry. And uh, in fact, that was

910
00:56:37,280 --> 00:56:40,199
a big subject in some ways in the in the

911
00:56:40,519 --> 00:56:44,239
in the previous segment that we were doing. So is

912
00:56:44,320 --> 00:56:47,679
this going to be the new approach going forward? Do

913
00:56:47,719 --> 00:56:49,199
you think you're going to keep doing it this way?

914
00:56:49,320 --> 00:56:52,119
Or I mean, obviously you're promoting this album singles Club,

915
00:56:52,199 --> 00:56:54,320
these singles that have become an album, So I don't

916
00:56:54,360 --> 00:56:56,480
know if you're even thinking that far ahead, but are

917
00:56:56,559 --> 00:56:59,039
you thinking about kind of the future or are you

918
00:56:59,119 --> 00:57:01,639
in the moments just more focused on promoting what you've

919
00:57:01,960 --> 00:57:03,360
what you've just released recently.

920
00:57:03,960 --> 00:57:07,000
Speaker 12: Well, I mean absolutely we we We had a gig

921
00:57:07,119 --> 00:57:10,039
last night and we basically went into a studio this

922
00:57:10,199 --> 00:57:13,320
morning and recorded the basics of like the first three

923
00:57:13,440 --> 00:57:17,000
tracks for something that's planned for later on in the year.

924
00:57:17,159 --> 00:57:19,239
Speaker 4: I mean, I constantly write lyrics.

925
00:57:19,320 --> 00:57:21,800
Speaker 12: Lyrics just keep coming, so we keep we write them

926
00:57:21,840 --> 00:57:24,440
down and then we work on the ideas.

927
00:57:24,719 --> 00:57:25,519
Speaker 4: We we live.

928
00:57:27,800 --> 00:57:31,719
Speaker 12: About one hundred miles apart. Ok, so we so we've

929
00:57:31,800 --> 00:57:34,000
sort of embraced the technology. So we send each other

930
00:57:34,119 --> 00:57:37,679
ideas all the time via WhatsApp, and then so we

931
00:57:37,760 --> 00:57:40,280
pass some sort of forwards and backwards like that, and

932
00:57:41,159 --> 00:57:42,719
you know, we work on bits at the other end,

933
00:57:42,800 --> 00:57:44,599
and then we sort of come together for gigs. We

934
00:57:44,679 --> 00:57:47,199
were saying today, we don't really rehearse very much because

935
00:57:47,239 --> 00:57:49,800
we just sort of we do. If we do, I

936
00:57:49,920 --> 00:57:51,960
rehearse my bits. My rehearses is bits, and then and

937
00:57:52,000 --> 00:57:53,320
then we bring them together at gigs.

938
00:57:53,400 --> 00:57:53,760
Speaker 4: Generally.

939
00:57:54,000 --> 00:57:57,440
Speaker 12: Yeah, and we're quite We're pretty disciplined, to be honest.

940
00:57:57,480 --> 00:58:00,800
So we're well, i'd say we are. I mean, if

941
00:58:00,880 --> 00:58:03,000
you if you see us life sometimes were not particularly

942
00:58:03,199 --> 00:58:06,280
just disciplined. Some of the crowd know the lyrics better

943
00:58:06,360 --> 00:58:09,960
than I do. Sometimes just a bit embarrassing, especially when Yeah,

944
00:58:10,000 --> 00:58:11,840
sometimes so if I go into the wrong verse and

945
00:58:11,880 --> 00:58:13,440
somebody will give me a look from the crowd, and

946
00:58:13,519 --> 00:58:14,679
you'd be, oh, okay, cheers.

947
00:58:15,079 --> 00:58:21,360
Speaker 1: Right right my. So you know, that's another you know,

948
00:58:21,599 --> 00:58:24,239
in terms of being able to send tracks back and

949
00:58:24,360 --> 00:58:27,519
forth on WhatsApp, I mean, that's another example of how,

950
00:58:28,440 --> 00:58:31,320
you know, being able to adapt to the changing technology

951
00:58:31,360 --> 00:58:33,880
and the changing dynamics of the industry is so important.

952
00:58:34,000 --> 00:58:37,199
And I always say this comes up a lot too

953
00:58:37,360 --> 00:58:40,559
reflecting on the pandemic. You know, the pandemic was terrible,

954
00:58:40,599 --> 00:58:42,559
but we have to find these silver linings where we can.

955
00:58:42,679 --> 00:58:44,519
And I think one of the one of those, uh

956
00:58:45,159 --> 00:58:48,920
few silver linings was the kind of forced people, creative people,

957
00:58:49,000 --> 00:58:51,800
I think musicians in particular, to kind of find new

958
00:58:51,840 --> 00:58:55,360
ways to create and to and to get comfortable with

959
00:58:55,599 --> 00:58:58,079
creating from a distance. Like you guys said, you know,

960
00:58:58,199 --> 00:59:01,639
you're one hundred miles apart, and you know, I think

961
00:59:01,679 --> 00:59:04,480
for a lot of people pre pandemic, the idea of

962
00:59:04,519 --> 00:59:06,480
even being able to work that way, even though the

963
00:59:06,559 --> 00:59:08,960
technology was already there and has been there for a

964
00:59:09,039 --> 00:59:11,840
while to be able to, you know, just send tracks

965
00:59:11,880 --> 00:59:15,199
back and forth online, I think for I think a

966
00:59:15,280 --> 00:59:18,000
lot of people pre pandemic were resistant to that, who

967
00:59:18,119 --> 00:59:22,159
then became comfortable with it, who now now it's very

968
00:59:22,280 --> 00:59:25,159
freeing because it's just another way to create, and to

969
00:59:25,280 --> 00:59:28,280
be able to create and collaborate with somebody who is

970
00:59:28,360 --> 00:59:32,599
one hundred miles away is really cool. Y.

971
00:59:33,119 --> 00:59:35,519
Speaker 4: Yeah, we did, I mean we did in lockdown.

972
00:59:35,599 --> 00:59:37,800
Speaker 12: We sat, we started, we were doing a few There

973
00:59:37,840 --> 00:59:39,840
was a few internet radio sort of shows, but we

974
00:59:40,000 --> 00:59:43,400
also did sort of gigs at home. Yeah, you know,

975
00:59:43,480 --> 00:59:46,239
we we we got into when the times we were togain,

976
00:59:46,280 --> 00:59:50,639
we got together and just sort of played played it

977
00:59:50,800 --> 00:59:53,440
played an online gig sort of like on Facebook Live

978
00:59:53,599 --> 00:59:54,159
or something like that.