I made it easier for many artists to play in certain areas.
We live in a world with "free" content, and this freedom is not an imperfection. We listen to the radio without paying for the songs we hear; we hear friends humming tunes that they have not licensed. We tell jokes that reference movie plots without the permission of the directors. We read our children books, borrowed from a library, without paying the original copyright holder for the performance rights.
I'd never been paid for the first Roses LP - it was 2002 before we received any royalties.
I would say the hummingbird really deserves the royalties on [some of my songs].
Any play is hard to write, and plays are getting harder and harder to get on the stage.
Artists need to be valued. Many of our shows are re-run in other countries. In Hollywood, if a show is being re-run, artists are paid royalty.
I have never made money selling records. I have never really made money touring, either, or with merchandise, surprisingly. But I do make money by just having my songs in the background of television shows or in commercials or movie trailers. That's been really good.
When I was releasing EPs by myself, I was generating royalties. And when I signed, I thought I'd put those royalties into other artists. And interestingly, streaming is most of the income for those artists.
Some of my own books are being developed - one as a Broadway musical.
You can't cancel my stand-up tours. It's impossible. There's too many separate bosses. There is no 'bosses.'
This is a turf battle. They are saying, 'The songwriters aren't getting paid.' Baloney. Songwriters are getting paid. They're paid sync rights and (mechanical) rights. They aren't getting paid for the public performance in a download because there is no public performance in a download.
The songs certainly have not made my fortune, but I am still grateful for the royalties when they come in.
If somebody makes a record, no matter how many years later it's released, they or their families should be entitled to the proceeds.
Producers want to put their music behind revivals but I don't think that's a good trend for the theater at all.
An agent is a person who is sore because an actor gets 90% of what they make.
I definitely learned stuff like advancing a show, what percentage I should be paid, what's going be in a contract I'm going sign.
The first reason for starting to do the symphony concerts was to play this new piece of mine.
I performed in a bowling alley before while people were still bowling. Cut the check, and I will perform anywhere.
When I was in N.W.A. and didn't get paid all the money I was owed, that's when the business side of showbiz hit me.
Yes, I get a report from BMI about the frequency of performances, and it is very surprising. They played one of my most advanced pieces, and one of my most unusual ones on the radio.
In 'Comedy Nights With Kapil,' we had fixed characters and we were under a contract that we could not work for other channels. But it's not the same with 'TKSS.' I can do shows on any channel.
I do pay performance royalties on others' songs I perform live, but I'm not recording these songs and putting them up for sale.
There are so many songs I've recorded, only to hear other people singing them. It happens all the time.
In that film, the man and the part met. As far as I'm concerned, that part is Greg's for life. I've had many, many offers to turn it into musicals, into TV or stage plays, but I've always refused.
If you don't have the rights, you can't do the show.
