Jessica Origliasso Quotes

Once you put songs out, they're not yours anymore. They're everyone else's.

When people who are songwriters say 'That's my property and if you give it away for free then I'll lose my incentive,' then, well, good riddance.

Certainly, my many years working in the comics industry, creating products that I do not own, has made me rather fierce on the subject of giving up rights.

When a record co. finds a guy now, they want to own everything. They want to own the rights to market that person's particular name. They want a piece of the action all the way through.

It's nice if people ask to use your song. You have to make a decision as an artist how you feel about that.

It's hard to give your song away. They're like your kids.

As songwriters, we are lucky to have ASCAP on our side, offering support and fighting for our rights.

If somebody makes a record, no matter how many years later it's released, they or their families should be entitled to the proceeds.

Only I hold the right to all my songs.

A lot of artists are much more concerned about how their work is used and how it's disseminated. That, to artists, is as important as the money, for some people.

Well I know I was contracted to Polydor so they couldn't use my name.

The reason I do interviews is because I'm protecting my songs.

I will never sign to a major record label again. If, by some mega fluke, a record of mine looked like it might break big, I'd try and do it via an indie or somehow license it. I'm not having my music owned by those corporate bastards again.

I've copyrighted 3,000 songs.

I like the old days when, if I wrote a song and I recorded it, it didn't mean somebody else couldn't record it.

Our first manager really pushed that we not sell our publishing rights, which is one of the earliest things an artist will do: They'll sell in order to get a cash advance.

As long as you have a percentage of a song, that lasts forever. You have to study the business. Don't just be in it for money. You have to understand what you're in it for, then get your money.

The pressure is only from the producers and the labels. No composer, no singer would ever want to sing a remix.

The purpose of VEVO is to continue the tradition of corporations preventing artists from making money on their art.

I rarely have any contact with the artists who cover my songs.

I can do anything onstage. Here's the misconception: You could record an album called 'The Best of Styx.' And all you would have to do is pay the individual songwriters a mechanical royalty.

My strongest message is: 'Never give your songs away. Never sign a contract you can't get out of.'

One of the reasons I started Tzadik, which is my own label, is to keep things in print. I got tired of labels dropping things out of print when they don't sell.

Even if I don't release it myself, somebody else might hear it and want to record it. When you write a song, it gives it that potential.

I would never put my songs in a commercial.