A Quote by Gabrielle Aplin
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.
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The royalties from downloading are bad enough but the royalties from streaming are non-existent.
I had a very unusual contract. Most artists actually pay for their record dates and it comes out of their royalties. I paid for nothing.
Record industry's not so much against artists, but certain people are just wicked people that sit up in the industry who go against the artist. The thing is, if you're in the recording business, where's our health benefits? Where's the royalties from when you put stuff on labels in different countries? And now, with all these 500 cable channels, you want your mechanical royalties, your licensing. There's so much technology that you've got to stay on top. They always try to tell you, "Oh, don't worry about the business side, just do the music."
I would have paid out royalties if we were still working together, carrying on Bob's tradition and generating income, but that was not happening. The Wailers didn't write the songs and they had been paid for their work in the studio.
My rich dad taught me to focus on passive income and spend my time acquiring the assets that provide passive or long term residual income...passive income from capital gains, dividends, residual income from business, rental income from real estate, and royalties.
I do work a lot. I mean, most of my income, I would say, comes from live performances. And then you've got publishing, you've got record royalties.
I've also been writing for other artists, producing other artists, doing some country stuff. Those lyrics I tend to leave more universal.
At any rate, when I began photographing myself, I could place myself in poses that had not been investigated by other artists. It was an area other artists hadn't touched. Then, I went on from there. I manipulated my image - distorting it, brutalizing it. People thought I was mad, but I felt I had to tell these things. It gave me a kind of excitement.
We've influenced other artists, and when younger generations become fans of those artists and hear about us, they discover our music too.
Because U.K. artists aren't compensated when their music is played on U.S. radio stations, U.S. artists aren't compensated when their records are played on U.K. stations based on the fact that there's no reciprocity. If that income came in, our artists would be paying income taxes on it. So if we can get a lot of policy on the radar, that may have some positive influence.
Those of us who had a perfectly happy childhood should be able to sue for deprivation of literary royalties.
And C++ programming languages, we own those, have licensed them out multiple times, obviously. We have a lot of royalties coming to us from C++.
The people love when you give them a part of you. You know what I mean? Those are the most successful artists. Artists with a story to tell when the people can feel that they are growing with you.
Most existing national capital funds have been built up from royalties from oil and other minerals. They need not be limited that way. Most are anything but democratic. That could be changed.
Streaming is a really big market for me. We've been doing great in the streaming market, so it's not something I want to alienate at all. Streaming counts now. They're treating artists the way we deserve to be treated.
Dave Matthews, Tim McGraw, U2, The Rolling Stones - there are a lot of artists selling out stadiums around the world that we work with regularly. And end up making most of our money with those artists.
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