The downloads, the licensing, commercials, radio - it's made me more money than any song I've ever written, and it only went to No. 26. It wasn't a big hit at all. But it's a career song ["I Can't Drive 55"].
The big, big record labels have so much control. I think too much control that it actually made their artists scared to not do what they were told and then the music suffers because of that dynamic and now there's the power of the download.
I like to download as many apps as I can - especially the ones with games and gadgets.
If we want to be musicians, dancers or sportspeople, we can download a certain amount and watch DVDs and read books, but in the end we need someone to assess us and give us personal instruction. The two go together.
When you look at the whole explosion of the Internet, the decline of print journalism, there are all of these plus-or-minus ramifications, and you have to work it out. The great thing about books is that you have a tactile thing that's there. You can download this or download that, but how long do you want to be staring at a screen for the rest of your life? You've got to have some kind of proper interface for people that's not about the screen.
I really don't need the public's money. I'd like to have something on the internet with charitable donation optional, where anyone can download my music for free.
We figured you could download live shows for days, so we decided to go for a cream-of-the-crop approach, but not just take the best vocal or the best performances.
I have a radio show on Sirius XM. I put it up as a free download on my Soundcloud and on iTunes. That's a portal for me once a month, to play songs I know aren't getting played on that station the rest of the week.
If you're going to download an MP3, as a recording, it's sort of like an archive of something that has happened - that has a beginning and an end and can be released. The infiniteness escaped.
I realize that people won't even download the entire album and might just download a song or two and put it in a playlist for a workout or in the background while people do dishes. That's fine and I can't dictate how people listen to my music, but I structure records the way I listen to records.
I've got a number of stories written so far in that mythos, more lined up to be written, and a narrative arc taking shape between them. I was experimenting with releasing the stories online for Paypal donations, so the existing ones are currently available via the blog for free download, but the ball didn't keep rolling in terms of meeting the targets I was setting.
I think that when people download the record they're kind of missing out on part of the experience, because it's really meant to be an immersive experience.
I came across an old story of mine that I'd written a decade ago. The main joke of the story is that a mother is telling her children about how she met their father online. The majority of memories the mother has all have to do with really funny links he sent her, a music download that she loved, etc. - and because of these superficial details she fell in love with the father. Reading it today, it's hardly a dystopian story; it's simply a realistic story about how people actually meet.
My books are offered through Podiobooks.com and the iTunes Music Store as free audio downloads. I don't sell them.
Just invest in apps. Just download apps and then pay yourself the dividend.
I just people to get big bang for their buck. I just feel like I am really lucky that I still get the support that I do from my fans when it is so easy to download music for free. When fans go out and support and buy my music that really means a lot to me so I want to make sure that I give the very best I can when selling a product.
There's no real template to follow these days for what a band should and shouldn't be - bands are just becoming these weird little Internet avatars that you either follow or download or interact with in some removed way.
I really believe that if I make records that are indispensable to my audience, they'll go out and spend money to buy them, even if they've already downloaded them. If they can afford it. If they can't, I'd rather they be able to download it than not get it at all.
I'm not sure if music got a future. We have all these electronic ways to download and steal music and get music, but there's no money in makin' music.
At the end of the day, people have the right to have opinions. I have the right to have an opinion. And I have the right to say what I want on my music 'cause it's my music. If you don't like it, don't click on it, don't download it.
I listen to KCRW in the car and Pandora radio, which I stream through the stereo from my iPhone. I've been listening to everything from Caribou to Conway Twitty. If I'm going on a longer car ride, I'll download some podcasts.
Look at the world of books nowadays. People just download books. They don't go to a bookstore. Amazon is wiping out Borders and Barnes and Noble. Those are brilliant examples of ephemeralization doing more with less at a better price.
The whole awards thing is great. Why? Because the Golden Globes, the Academy Awards, they put a focus on the industry, and that focus translates into people buying tickets to see movies or download films, legitimately download them. And it keeps us all at work. So I'm a big fan of award shows.
I was a huge Sub-Zero guy, but the fact that you can download Freddy Krueger is the coolest thing I've heard of in a very long time.
The Web is cool, but the library is magic. Where else can the spirit of generations of writers stir your soul? So many writers talk about libraries setting them on their magical paths, it's almost a groaner. But we know it's true. Wander through the stacks and you can feel the dreams, the unique worlds bubbling within each volume. The magic enters you as if by osmosis. On the Web, you may feel clever, lucky and driven to download--but rarely inspired to dream and to write.
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