August 15, 2023 • 50 mins
Will this new medium be just as revolutionary as radio and podcasting? In Ep#45 we are going to have a look at the current problems in the music industry, case examples of musicians/DJ's using RSS and why everyone gets a part of the money.
Huge thanks to Cole McCormick, McIntosh and Adam Curry for supporting the show. Absolute legends!
15% of this episode is going to Ainsley Costello, Able Kirby & Sir Spencer for letting me play their music. Don't forget to support your favourite musicians!
Value 4 Value Support:
Boostagram: https://www.meremortalspodcast.com/support
Paypal: https://www.paypal.com/paypalme/meremortalspodcast
Connect With Kyrin/Mere Mortals:
Website: https://www.meremortalspodcast.com/
Discord: https://discord.gg/jjfq9eGReU
Twitter/X: https://twitter.com/meremortalspods
Instagram: https://www.instagram.com/meremortalspodcasts/
TikTok: https://www.tiktok.com/@meremortalspodcasts
Huge thanks to Cole McCormick, McIntosh and Adam Curry for supporting the show. Absolute legends!
15% of this episode is going to Ainsley Costello, Able Kirby & Sir Spencer for letting me play their music. Don't forget to support your favourite musicians!
Value 4 Value Support:
Boostagram: https://www.meremortalspodcast.com/support
Paypal: https://www.paypal.com/paypalme/meremortalspodcast
Connect With Kyrin/Mere Mortals:
Website: https://www.meremortalspodcast.com/
Discord: https://discord.gg/jjfq9eGReU
Twitter/X: https://twitter.com/meremortalspods
Instagram: https://www.instagram.com/meremortalspodcasts/
TikTok: https://www.tiktok.com/@meremortalspodcasts
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Kyrin Down (00:00):
The world of music is changing
and it's for the better.
Okay.
Welcomeeveryone to another value
for value episode.
My name is Kyrin, hostof the Mere Mortals podcast.
But also this onewhere I dive
deeper into the valuefor value model.
I look at how this model
(00:20):
is going to helpdigital content creators
in a waywhich would allow you
to get paidand also connect
with your audience.
Just a reiterationthat I'd do this
live on a Wednesdayor on the border
point on a Tuesday,Wednesday.
So midnight UTC zero.
So just plus or minuswherever you are
in the worldfrom that on to there.
(00:42):
And yeah, I would loveto have you join me into
for one of theselive ones.
Now I just want to
start this off withjust saying V for V music.
It's going tochange the world.
So the topic for today'sV for V music.
Musiciansare finally getting paid
and this is going to bea two parter.
So the first portion of
this is going to be reallylooking at
(01:03):
the general concept.
What is V for? V music?
Why is it important?
And then in the next
episode, next week,we'll get into the weeds
and some real resourcesfor those who want to
really participate in thisand a try out what what
this stuff is.
So let'sgo into the top level.
What is V for? V music?
And basicallyit's a way for musicians
(01:24):
to distribute their workusing RSS.
And we have already talked
about in previous episodeswhy this is powerful,
why you would want RSSin your in your feed.
So this was
episode number 41.
What is a podcast?
I was really talkingabout it there.
And then alsoeven in the one
before that episode 40,which was about
(01:45):
how RSS can make your feeddecentralised,
be self-sovereignpermissionless
and allow some valuetransfer going on as well.
So we already talkedabout that.
And let'sjust start off with
I guess it's like what,
what's
one of the main problems
that's currentlygoing on with music now?
All of this
I'm kind of usingfrom Second-Hand sources
because I am nota musician myself,
(02:06):
so I haven't
fullygot to experience these,
but it seems to be
rather unanimous
with most of the musiciansthat I've talked with.
And it seems to bethat the
the system of distributionis kind of
I hesitate to use the wordunfair, but it it's
very close to that.
It it doesn't very muchseem to be an inside
(02:28):
a game or it's only suitedto particular people.
Only certain peoplecan can kind of win
in this industry,much like with
the radio or the TV
industry.
You hadto have a certain level
of knowing of people of,
you know, playing the gamesomewhat to speak,
(02:50):
and then something likepodcasting came around,
which was like, Oh, cool,
I can just do thisfrom my own home.
You know, I don't have togo into a radio station.
I don't have to, you know,appease these bosses.
I can just produceexactly what I want.
And the, the,
the methods,the tools of distribution
allow me to do this
at such a niche,individual level.
(03:10):
And so what we can seenow is that there is this
kind of barrier pointfor for musicians,
which is, well, you know,
maybe they can createtheir own music, but
what do they do with itthen?
How do they get that outto people?
And the distribution fromthis seems to be
you need to put it outon everywhere.
And so there is a
ridiculous number
of streaming platformsdue to be able to do this.
(03:33):
And probably the ones thatyou will be most aware
of would be things
like SoundCloudwould be Spotify.
I probablyI would even put
YouTube in there as aas a way of distributing
music as well.
They certainly have theYouTube music app as well.
So there's there'sa variety of larger ways.
But as we'll go on
(03:54):
to a little bit laterwith Ainsley Costello,
she has a post
where she was talkingabout how she is up
on a ridiculous numberof apps
of streaming platforms.
And I think she saidthere was 60
plus that she is on,which was even news to me
because I didn't knowthat there was
there was that many.
(04:14):
So basically
you can putall your stuff out there,
but you have to bevery active in doing this.
You know,if you put in your song,
you have to put it up on
a ridiculousnumber of places
to try and get it outonto all of these
different various things.
So not not super, superhelpful in that regard.
And this is in comparisonto something
(04:36):
like podcasting where
I only have to put myaudio file up in one place
and then I can linkto all of these
all of these placesto that audio file.
And then it's like, okay,you can check out here,
whereas I don't have tomanually go and do that,
I can just put itall in place.
This is kind of likewe were talking about
with RSS,you know, just one,
(05:00):
just one placeand one source of truth
of of one thingthat I earn
and everythingcan point in there.
And yeah,
I just found it on 60plus streaming services.
So that's an insane amountbut that she is on.
So I guesswhat is the main
difference between thisand maybe something like
So that's a problem.
(05:20):
Distributionis obviously one problem
that's in the musicindustry at the moment.
Another one is thatthere is a, I guess,
lack of being able to bein the money yourself.
So if we think of
somethinglike Napster or MySpace,
you could say,okay, well, musicians
kind of had a placeto put their music
and a lot of peoplecould link to it.
(05:41):
Once again,it's not as good as RSS.
I personally,I believe, but
that you could have that.
But once again, how do youget paid from that now?
How do you make moneyfrom this?
And the current royalty
rangefrom what I once again,
what I have gatheredfrom the outside,
it seems to be
somewhere inlike the 10 to 30% range.
(06:03):
If you're a musician
and people are playingyour music,
you're only getting 10to 30% of what's actually
what couldpotentially be coming in,
which once againseems kind of insane
to me, that it's so low
if you're the ones
who put all
of this togetherthat you only get such
a small,small portion of this
(06:23):
and which will then getdivided up even further.
If you're in a band
and now you have to splitthat 10%,
what,five, six different ways
or that 30%, fiveor six different ways.
So the current
royalty schemeseems to be rather unfair.
And let's just take
something like Spotify,which is
this is oneI'm reasonably confident.
I know how it works.
(06:44):
Spotify does it like this.
So they
earn money from userspaying a premium thing.
So this will be $9 a month
and then there's anothertier or two above that.
And what they dois they kind of collect
all this money and then,
you know,a portion of this
will get
distributed to the musicrights associations,
all of these peoplewho they're getting
(07:06):
and the bigger stuff from.
So this is think like,you know,
the mega bands,the Taylor Swift's
The Red Hot ChilliPeppers, things like that.
A lot of it will goto those record companies
and then that will getdistributed up,
perhapseven to the artists
from there, or it willjust go directly to them.
And so
the the
amount that you paygets divvied up
(07:27):
into all of thesekind of different places.
And what happens is
the amountthat's remaining left
for all of the artists,
it gets divvied up basedon the amount of plays.
And so those who have
a lot a lot of plays,they get more money.
So once again,think of the very,
very famous,most popular artists.
(07:48):
They get a ridiculousamount.
Now, what this means isif you have someone
who is maybe marginallyor moderately successful,
maybe you get,you know, 100,000 people
tuning in to musica month.
And what how much do youactually get from that?
Well,I believe it's somewhere
in the range of 3 to $5per thousand streams.
(08:10):
As I've looked into it,
this seems to vary widely
as well
because they do all thesesorts of things
based on the countryand whatnot.
And I'm going to guessthat it's kind of scurries
around the smallerartists as well.
So let'sjust say $2 per stream.
If youcompared this to something
like the advertising modelin podcasting
and which for me has been
(08:31):
really equivalentto the value for value
in terms
of the actual amountthat I receive versus
how many peoplehave boosted in
and how much you golisten to
is closer to $20 perthousand.
So this is where it'sreally intriguing.
You go, okay,well, is music worth,
you know, ten timesless than podcasting or
is is podcasting worthten times more
(08:53):
in terms of the actualtime it creates?
Did takes to create music?
I would probably say noin terms of the actual
output of how it makespeople feel the value
that people get from it.
I probably wouldn't haveparticularly said sorry.
If anything,I would have said
music is a muchmore powerful and medium.
But you know, this is alljust going to show.
(09:15):
There
does seem to be somethinglike a little bit broken
with the waythat it's working.
And I think mostly
this is dueto things on the layer
which is not connected
to the
actual content itself,but it's all of the things
around it.
And so what happens iseven if I have a premium
Spotify thing I'mlistening to exclusively,
(09:39):
you know, artiststhat I really enjoy
who are maybe
not as mainstream, I'm
almost none of my money
actuallygoes directly to them.
It always
it goes to
these other artistswho are getting played
a lotand downloaded a lot.
But it's,
you know,
my individual personaltastes are not going to to
where I thinkthey should be going
or where I would want themto go, I suppose.
(10:01):
But because so much ofthis is behind
the surface,you have no idea.
And so what I wouldjust say is that the
kind oflike top level view,
there's a lot of problems,
but it's notat the technology layer,
it's notat the distribution of it.
So, for example, it'snot that there's better
sound quality on differentapps.
(10:21):
It's not thatthere are better playlists
necessarily.
It's not that there'sbetter algorithms.
It's it'skind of like the problem.
The problem is,is that the incentives
and how thingsare getting distributed
and how thingsare getting divvied up.
And it seems to be thatthe smaller artists
are getting a pretty shitgo of it and they
(10:45):
the amounts or the thingsthat should be happening
if they do havea loyal fan base,
you know, they're thousandtrue fans.
We've heard about this inthe Kevin Kelly article.
If you have 2000 truefans,
you should be able to makea living from that.
And if they're willingto pay, you know,
$10 a month, that's 10,000a month that's easily
(11:06):
liveable off.
And it seems to be thatthose 2000 true fans,
there's no easyway for them to do that
through musicat the moment.
And what I thinkis going to change
that is valuefor value music.
So let's let's talkabout that.
So basically,
what isvalue for value music?
Well, it's being able
to haveyour music distributed
(11:30):
in this manner
that I was talking about,
where you canjust put it in one place
and everythingcan link to that.
So this is using RSS
and it's being ableto monetise that much
like we were talkingabout previously
with the boosted gramsand through micropayments,
the exact same mechanismyou can put
in a lightning wallet
and this willthen be able to
(11:51):
be a kindof source of truth
for people to say, okay,
if I want to contributedirectly
to my favourite artist,my favourite musician,
this is the waywhere I know
if I boost in
or if I streammicropayments,
it will godirectly to them.
So if you want to know
more about that,
check out the previous two
episodes on micropaymentsand on Booster grams.
(12:11):
And soI think this is going to
change revolutionisethe music industry
just from the simplefact of musicians
are going to realise,okay,
this is actually
changing things
and this is actually goingto make them
more fair for meand I can distribute it
in a just simplerand easier manner
rather than tryingto put it on
(12:32):
60 streaming services.
So I'm going to get into a
little bit of the history,I suppose, of this.
So because I've beenfollowing this
pretty closely for thelast year and a half and I
because I think it is
going to be probably
one of the biggest
use cases or thingsthat really will maybe go
viral from the wholepodcasting 2.0 ecosystem
(12:53):
and micropaymentsand things like this
is this abilityto do it with music
because there's just
something about musicthat people really
it transformsand it creates people
to do things in a more
emotionally charged waythan perhaps a
podcast like this. So,
so let's just go on
to likea I guess you will,
(13:15):
one of the first peopleto do this.
So and specificallyI'm talking about
you're a musician.
You want to put your music
up on somewhere, butyou get like a Spotify.
It's a kind of shit deal.
SoundCloud,you know, Bandcamp,
all of these placesthat they're not really,
reallyhelping me that much.
And so there was twoartists.
One was called So Spencer,
(13:35):
and one was calledAbel Kirby,
and they'reboth podcasters,
and they created a bandcalled Abel and The Wolf.
And basicallywhat they did is they
went throughthe whole process
of creating an albumspecifically
just to be ableto put it up as a,
as a band, as a music
(13:57):
specifically designedto be put up on RSS.
Becauseone of the problems is
it it's not comingacross super, super easy
at the moment. It's not.
The whole processtakes a bit of time.
And if you're tuning intothis show,
you should know likeeverything is of
this is runningwith scissors.
All of this is really new
and it takes a bit of timeto kind of work up into.
(14:19):
And so if you want to knowmore about this,
go check out episode
36 called a Craft of thisvery show because
they created a podcastwhich was
showcasing their wholedesign process of how they
they went through this.
So episode 36 of theof the previous season
of season two.
(14:40):
And so what were some ofthe things they did?
Well,they created a transcript
which would be containingthe lyrics of their song.
So you can see, okay,this is
showcasing somethingthat you would maybe find
in a CD
of previous generationsbefore that was the thing
album Art, which they usedas episode images.
So for each,
(15:01):
for each
track thatthey had on their album,
they would have an artistdesign
a, a picture which wouldrepresent that song.
And you'reseeing one of those
appearing up on yourscreen as we speak.
They had splitsfor the artists.
So once again,
this was somethingI was talking about
with, say, in the BoosterGraham's and in the
(15:21):
streaming of payments.
You can split things up
directly within your feed,
so you don't need to have
a contract of one persongets all and all the money
and then you relyingon them to divvy it up and
you don't rely on them.
So you need a thirdparty who,
who's trusted to be ableto do that.
Now, in this case, it'slike it's all written,
baked in.
If you want to give 20,if you got five bandmates
(15:43):
and you just want tosplit it up
evenly,you know, 20%, 20%, 20%,
if you want to includemore people in on that,
you can or less people
or one person is doingmore work,
you can change thoseand it's all beautiful.
And so that'swhat they did.
The money was being splitup and
in these various ways,and it was for each
individual track as well.
(16:04):
So once again, itgets this granular level.
It doesn't just have to befor I care.
Well,you know, this person
worked really hardon this particular song,
so we were going to tryand do it as a whole.
Of all the money comingin, how should we do that?
No, it's like, no,you can get paid directly
for the work that you did.
So this is
(16:25):
really, really cooland I'm going
to be playingsome of their music
a little bit later onas just a as a teaser for,
I suppose, or showcasingof of how this works.
And so yeah,that was kind of
one of the first use caseswhere I saw a musician
actually creating this
and putting it upspecifically just to be
used in this manner.
(16:46):
There were a couplethat had done this before,
but this was probably
the first
that I saw where
they really created itin this way.
Now, one of the things
that's really prompted meto talk about it
on this episode
and in the
in the next episodeas well
is something calledGrand Bull.
And so this was createdby Adam Curry,
who you should knowwell, well,
(17:06):
be well aware of by now.
He is the kind ofco-inventor of podcasting,
a former MTV veejay,and the guy
who's going to spearhead
spearheading,along with Dave Jones, the
the podcasting2.0 movement of of trying
to make podcasting better
and once again,
check out the episodeI did, I think
(17:27):
three or four weeks agocalled
Emergenceof podcasting 2.0
then.
So Booster Grand Bold
is basically where he
highlights songsthat he really enjoys,
which have beenput up in this manner.
So it has been an artisthas gone, Yep,
I'm going to put it upin an RSS feed.
I'm going to
put in a lightning addresswhich will showcase
(17:48):
or will show where peoplecan send money to.
And so what he is doingis now
he's createda basically a DJ,
a radio programwhere he is the DJ
and he introduces like,
you know,this is Bruce Grand Bowl.
He's got all of these
jingles and things
and then he playssome music,
you know,leads up into it.
And he's a professional.
He's done
this professionallyas a career
(18:09):
for many,many a year before
becominga full time podcaster.
Now was he?
So he
really knows how to createa good show
that he'll leadinto the music,
the musical play.
And as the musicis playing through
some just really,really cool
technology, I guess thethe money goes directly.
So if people are streaming
(18:29):
in, the money goes
directlyto the artist then,
or if they're boosting in,
it goes directlyto the artist,
then when he comes backon, it will go to him.
Then when he, you know,talks a little bit
and then he playsthe next song,
it'll go to that,that next artist.
And so basicallyhe's created
three showsat this very moment,
each of these
being roughly
(18:50):
about an hour long,and he's playing about
ten shows per episode.
So we can see, okay,this is really cool
because it solvesa couple of things.
The discoverabilitycomponent,
you know,
if he'splaying a show on there,
this is how radiohas always, always worked.
If you hear a really coolsong on the radio,
it's like,Oh man, I want to listen
to more of that.
(19:10):
I'm going to go outand buy this CD
or I'm going to listenor stream and more.
And I think this iswhere the madness
is going to kick off,because
I can really see thisjust expanding
as musicians realise,Oh wow, I'm actually
getting paid for
for peoplelistening to my music
because there's people
out there like me who havea very much kind of
(19:32):
disposition towards, Yes,if I'm listening to
something,I want to pay for it.
And so wouldwould I rather spend,
you know,
$9 a month on Spotifyor would I rather spend
$9 a month streamingdirectly to people who
I think they deserve it?I'm going to do it my way
and I'mgoing to stream in to
(19:53):
music that I listen toand I'm going to stream in
or boost into showslike Adams, which showcase
music and is kind of a wayfor me to discover it.
So very, very,very cool on that point.
And the thing is, this is,this is all I would say
I would say
kind of revolutionaryas I was referring to
(20:14):
at the start,
because he's he's triedthis once before
and he never got itoff the ground because
it was just too hardwith the record labels,
with the
right associations,all looking at podcasting
and it's like,
No, no, you can't do thatbecause we can't
see where this money goes.
(20:34):
You know,
you get this money,you have to send it to us.
And it was justtoo much of a hassle.
There was just too many
too manybarrier points with
with, I suppose, the moneyside of things.
And I think that's get
solved by the direct peerto peer nature of one,
it being peer to peer.
(20:55):
So there's no middleman
involved,there's no trust needed
and to
with the functionalityof being able
to split things upin various ways, there's
there's going to be lesshave the hassle of,
oh you didn't send methis mount, you know,
you got more than me,this sort of thing.
It's like, no, it's allthere, it's all laid out.
And if if you have
a problem with that,you should have
brought that upas we were typing in
(21:17):
or who's going to getwhat amount of split.
So I think this willchange things a lot.
With that.
Before I go on to
some ofthe the fundamental point
why I think this
is really going to work,
I just want to givea shout out to Ainsley and
a couple of stats
that we've just seen
across these variousdifferent shows.
So I've got a tweetfrom her here.
(21:38):
Once again,this will be appearing up
on your screenas we speak.
And so Ainsley Costello,she's a young musician
in the United States.
I'm not exactly surewhere she is from.
I think probably
the Nashville area
or she isshe lives in the Nashville
area at the moment.
And so she was justposting on July 25th.
So she had posted upher music on Wave Lake
(22:01):
and it kind of one of her
songs calledCherry on Top, really.
It got people intoto like, Oh, wow, this is
this is a great song.
I want to play more of it.
And so she saidfor five days on on that
she got 180,372 SATs,which was equal
to about 52 U.S.
dollars and onfor the whole of April 20,
(22:22):
23 on 60 plus streamingservices, she got $22.
So we can even seejust from
that little example there.
Okay,she got double roughly
in in these lightningpayments from people
directly streaming toher and boosting to her.
Yeah,she got a lot lot more.
Now the funny thing is,you know this was what,
(22:45):
three weeks ago.
It's basically ten nextthat amount.
So I know she's passedthe 1 million sets range
and I'mcertainly sure that
that other numberof the 60 plus streaming
services hasn't ten.
So just for her
she actually had a hit
song and people loved itand they boosted in
and they streamed in
(23:07):
and it was a ridiculousamount
more than
she would have got
just from being on all ofthese other platforms
where they dotake their cut
and where it isn'tdistributed
evenly and fairlybased on people
and how much they enjoythat music.
And so
once again,
this is
just getting to the pointwhere I think like
V for V music,
(23:27):
someone like herwhere she has
something like thathappen,
she's going to
she's going to tell her
friends about itlike she's going to
she's going to be like,Wow, this is something
completely differentcompared
to the grinding away
that I've been doingon all
of these other platforms.
So that was just aone little use case there.
And thenI want to go on to
(23:47):
some stats that AdamCurry himself published,
which was justwhat was happening from
the Bristol Grand Bowl.
And so he says, here'swhat podcasting 2.0
has donefor value for value music.
On just threeepisodes of music and bowl
over 4 million setsand to the artists.
And then he'sgot a breakdown here
of how this hasbeen done by apps.
(24:10):
And we can see that
there was through Boucher
like customand accurate cost offence
and podcast index pod
friend pod verseand the split kit.
So this has all gonedirectly to artists,
which is equalto close to 1,200 USD.
So that's a fair bitin Australian dollars
as well.
It'd be like 600, 1700,something like that.
(24:32):
So we can see.
Okay, there's doesn't
use casefor this and it's not just
middling money.
That was what, 30,
you know, roughly 30tracks being distributed.
And what's that 1200.
So that's like,you know, 40 bucks a song.
You know,
imagine if you
you had your songget played
(24:53):
once on the radio andyou got 40 bucks for it
like that.
That would be prettydamn good.
And there's moresome more complexities
coming up withwith all of these things.
And I will definitely be
talking about thatin the next episode
because there is
quitea few complex things,
but I think this isall just showcasing that.
Yeah, value forvalue music
there is a need for itand one for it
(25:15):
and then drive for itand people are willing
to pay to pay for it.
And I think artistsare going to be
the beneficiary of thisbecause they have been
some of the oneswho've been screwed out of
I think just in a
this is yet,you know what I would say
it's an an unfair system.
And so I think this isa more fair one for sure.
(25:37):
BeforeI get into my my final
fundamental points,why I think this is
really going to changeand how this kind
of relatesto podcasting as well.
I did just want to play
the Cherry on top songfrom Aynsley Costello,
and this will also bean example of how
how we can dovalue for value music
even on this very show,on this very episode.
So I'm going to letAinsley take it away and
(25:59):
I'll be right back soon.
Ainsley Costello (26:15):
Oh no.
Oh, does.
Guys,
I know that you.
Know thatI knew about you play,
but you had to go toevery.
One of my attentionthat you had and one.
But I bet you're wonderingwhy killing all nine
(26:37):
doesn't hurt my back likeyou thought it was okay
for meto lie, to get good.
You put
food on the table,
leave it out. Try.
She loved me.
I said this.
(26:58):
Hear what she said.
I'm sorry.
I know that if I did,I would say Go to the.
Corner of the room.
Because I know that youare used to having it all.
Given back to. You.
(27:18):
And though it might beshelved in the same
cry like a little boy
might deservea third of doses of COVID,
I don't feel the pain.
When I first
met your mother,I remember.
Right.
Well, she'll be me.
(27:41):
Some wine.
Sorry, I'm dry.
I'll. I'll
sa. I'll.
I'll will.
Honey,I know that all is well.
(28:03):
Or maybe I don't know,
but I have to tell you.
See, the way can
handle this placeat the end of the day.
But you may,but I'll leave it out.
Right.
(28:23):
Well I've all get together
reaction that you want
differentareas of your life.
Put it out right.
Oh shit.
I want your reaction.
This one.
I'm sorry.
I'm down.
(28:46):
I'm sorry.
I'm sorry.
I got
Kyrin Down (29:03):
all right, pumps.
Thank you, Ainsley,for allowing me
to play that on this show.
Let's
get into the fundamentalpoint
before I get onto thefinal booster gram lounge.
So the value of a valuesystem works on goodwill.
I think this is somethingthat I've established
kind of rightfrom the start.
You know, it'sgoodwill on my part
to put this up on for freethis,
(29:25):
this episode,this everything that I do,
you know, you never haveto pay for it.
I'm always going to bethe one
giving youthe value straight up.
And that's alwayshow it's going to work.
And I think we can
take this furtherwhere it's like, you know,
I'm now
relying on your goodwill
to your conscience to say,
Did I enjoy thisvalue for value?
(29:45):
So did I enjoy this valuefor value music?
And I ask that
you just
send it back into meand I hope
that you do that now.
I think this is going to
requiresome fundamental changes
and maybe the waypeople view things.
So artists, for example,
they're going to haveto give up
complete controlover their music
when they put it up onsome of these services.
(30:07):
On on RSS, you're
kind of just releasing itout to the wild.
It's now like
if people want to play it
on a radio show,they're going to do that.
If they want to remix it,they're going to do this.
The, you know,it is kind of just like
a little bit of looseningof the reins
of no control of just likehere have at it now.
I think a lot of peopleare keen for this
(30:28):
and will do this
anyway because, you know,the unknown undiscovered.
And when you're like that,you just want anyone
to play it or hear itin any manner whatsoever.
So there is a kind of
goodwill on their part
where it's like, okay, I'm
just going to put this upand see what happens.
There is somewhatof an expectation
that if you're a podcasterand your creating a DJ
(30:51):
radio showlike this, like Adam
Corey was doing with Boostto Grand Bull
that you putin the correct split
or at least put in a split
of some sort
so that the artist, you'renot just
taking their musicand just playing it
there is an expectation.
It's not
I don't thinkit will ever be enforced.
Know, maybe
(31:12):
we'll talk more about thatin the complexities
lateron in the next episode.
But there isat the very least,
an expectationthat that will happen.
There's an expectation
that the listenerswill give back and that
they will do that.
Now, not everyoneis going to do that.
So of course notevery podcaster
is going to put itin the split for that
for the musicthat they're playing. But
(31:33):
for the most part, for the
most part, you wouldyou would expect this.
I think everyone isincluded as well.
This is anotherfundamental point where
just through the nature ofof how you can
you can send moneyin this way
using the LightningNetwork with Bitcoin
and potentiallywith others in the future.
It doesn't particularlyhave to be this,
(31:53):
but at the very momentit is,
everyone can get includedso the bandmates,
they can be put in split.
If you have
someone who
you know, the studiowhich you recorded at,
they can beput in the split.
You can have the peoplewho are financing you
whilst you're in a retreatand creating an album.
(32:14):
They can beput in the split app.
Developers
can get a percentage forgiving a great experience.
So I think it bypassesa lot of
entrenched middlementhat you had already seen
in the music industry,and it's incentivising
everyoneto to do the right thing.
Everyonegets a piece of the pie
(32:36):
by creating somethingbetter.
And I think what we're
going to seeis we're going to see
music apps do somethingthat will look like
a music app and willbe only just for music.
I think these thingswill start
to pop up in the future
and we're already kind ofstarting to see some,
but none that are really,really
(32:56):
distinct as of yet
because as I justmentioned, most
of the ways that peopleare doing it at
the moment is viaa podcasting app,
and that's just not
the best experiencefor playing music.
And it would be betterto have a music app
much like you have
YouTube music or Spotifyor any of the other ones
which are more suiteddirectly
(33:18):
for the music experiencebecause it does matter.
The experience.
So I think this is all
going to change
because everyone can geta cut, can get a split.
And then finally, evenjust going back to the
second episode of the
season,
which was talkingabout the
four different properties,
I think this satisfiesall of them.
(33:38):
So it's one you know,it's decentralised.
You can put up your music
in one place,but anyone can access that
from anywhere.
So this is usingthe RSS feed.
So if I just put up mymusic in this one place,
I don't
have to now go andput it up in a ridiculous
number of places.
And on the selfsovereignty aspect,
(34:01):
you know,I can own my own music
and this ispretty important.
You need to be ableto own your own music
to be able to put itup into it like this so
that it satisfiesthat permissionless.
You know,
I don't have to askSpotify to put my music up
if it containsnaughty words,
if it contains this,if it deals with themes
(34:21):
which are perhaps taboo,you know, once again,
you don't have to
beg anyone to be ableto put your music up
or for them to playor for even just
outside influencesto come in and say,
you know, your style.
I think it would be better
if you started
singing about thingswhich are more
suited to a demographic,you know,
(34:42):
couple of years
a decade younger than youand all these
sorts of things.
I think
I think you can bypassa lot of that if you
if you want to bea more pure creative
and put it up in a ina place just where it is,
you don't have to askpermission.
You don't have to bend
to the music industry'swhims and wills and kind
(35:02):
of sell your soul.
And then finally,the value transfer,
of course, is
when you're
doing it through RSS,you are doing it
through thisestablished way.
I think it is going tomake a big, big difference
on that aspect.
So yeah, wholet me go for the music.
I hope I have donea reasonable job
of explaining what it isand why it's important
and why I think it'srather revolutionary.
(35:25):
So let'sget into the boosta
gram lounge this weekand then we'll
yeah, we'll
have a couple of more tipsand things like that.
So let'stake it away. Adam Curry
Adam Curry (35:40):
Welcome to the Value for Value.
Boostagram Lounge.
Kyrin Down (35:47):
Alrighty, the Boosta Gram Lounge, here we go.
So pro tip number one,
it's important to checkyou'll have Booster Grams
if you checkedin last week.
You'll see that I misseda couple that were there.
So apologiesfor Who was that?
Robert Suzuki and China
for only doing thatat the end this week.
I am reasonably sure that
there's no live onescome in.
(36:08):
So thank youfor those two though.
So we did get three boostsfrom this last week.
So I'm just goingto read these out
and I'm going to try it in
the lowest to the highest.
So we've got CoachMcCormack here coming in.
I feel like I caughta wave with v4v this week.
Thanks for the shout out,bro. New World Order.
So I was going to talkabout him,
(36:28):
but I might have actuallymissed that in my notes.
Yeah, sorry I did.
So Ainsley had a chatwith Coach
McCormickon this show, America Plus
I think it was a really
great interviewbecause one the age level.
So a reasonably closecalls,
actuallya pretty good interview.
All of the first timeI've heard him
really doing an interview.
And I think he absolutelynailed it.
(36:49):
He knows a lotabout value for value.
He knows a lot
about the creative aspectbecause he himself is
kind of more of
like a filmmaker, artist,that type of thing.
And yeah,
I just think that wasa great interview.
So if you want to knowmore about
Ainsley Costelloand just the
the experience she hadwith V for V music,
I would recommend checkingout his show in that.
So you did Cat IndeedCatch a Wave and it's
(37:12):
awesome to see that.
So that was five
492 sent using fountainthat is his favourite
number. Thank you. Cool.
We've got another one herefrom Macintosh.
Boost, boost, Boost.
One quick note,
I sought my boostapp by episode
when I get boostfrom more than one episode
and I think you mentionedthat as a presentation.
I do like Kohl's idea
of smallest to largestbuild the tension.
(37:33):
MacintoshSo thank you very much.
Macintosh.
Then you add a little oneemoji in there as well,
and that was 10,309 setsand using fence
and yeah,
this is probably goingto be
I'm really interested
to see how this would be
in the futurebecause at the moment,
from all the showsthat I've seen, it
very much does seem thatpeople are boosting in
(37:53):
for the latest.
By and large,
I'm really keen to see,you know,
say Joe Rogan got onto podcasting to follow.
Would there be peopleboosting in old shows?
Old ones?
And what I have noticedis when I was doing this
with podcasting
2.0 and I was catching up
and I was boosting oldepisodes,
(38:13):
they themselvesdidn't really
get it as
much because I wasboosting something from,
you know, months agothat you're
talking about months ago.
So it does make itof harder like that.
So I think it is going tobe very much based around
the latest episodes,and that's probably
just how it will work.
I think that's how
the value for value modelparticularly works.
(38:35):
But we'll have to see.
And this can perhapseven be a
maybe a detrimentto music, which is
unless you're constantlyputting out new music,
maybe you don't getsome of the
the royaltiesbecause people are like,
Oh, I've listened tothis show 500 times.
This episode, this music500 times before.
I'm not going to payfor this one.
I think that can beovercome.
(38:57):
But yeah, it's
is somethingto look out for, for sure.
And yeah, I will mentionthat in the future.
Thank you.
I, I've alwaysjust read him out kind of
willy nilly to be honest.
And then finally coming inThe Godfather himself
at Carrie and his 1999in his fountain handle.
I'm not sure why.
This is anothergreat episode
(39:17):
explaining the Valley
Value model exclamationmark,
25,000 SATs and musicfountain.
We thank you very much,Adam.
And once again,the Bridge to Grand Bowl.
I would really recommendpeople
checking out that show
Macintosh also has onecalled Generation Bitcoin.
If you want to know moreabout the Bitcoin aspect
and that boosterGrand Bowl,
(39:38):
it's it'sa really good show.
It's worth checking outeven if you have no
interest in the sendingof money back and forth
of supporting artistsor anything.
It's worth
it just in terms ofbeing a radio show itself.
He's he's a pro. He'sreally, really good at it.
And there'sa couple of more shows
cropping up
and I'll maybetry and get to them
(39:59):
in the nextweek's episode.
So that is the bestgremlins for this week.
I really, reallythank you.
Thank you,everyone who sent that in.
I was doing a coupleof like quick calculations
and I thinkI need to get around.
I thinkit was probably about
500,000 sets
to overthe course of this year
(40:21):
to kind of make up
how much it coststo host the show.
So I would really love toto try and get to that.
So this is a huge boostto getting that.
So thank you.
Thank you very muchfor the
the three people who didthat and everyone who was
extremely in as well,
because I did see somestreams coming in.
Let's jump into some tipsand I'm going to say from
(40:41):
this week,the tip is obviously going
to be relatedto value for value music.
A lot of it
is how you present itto musicians as well.
I saw a bit of chatteron the podcast index and
it evangelisingis not the way to go
about this kindof going out to people
in their face about it.
(41:02):
And it's it's hard
because you can beenthusiastic
about a thing, obviously,like I am
for podcasting and for forvalue, for value music,
but it's best not to justshove it in their face.
And I've found that for mepersonally,
asking about the problemsand have fixed them
for myself
(41:23):
via podcastingtwo point out,
has beenthe best way to do it.
And then if
they area musician themselves,
you know, putting
like a little cheeky righthook at the end of, Oh,
and by the way, there'sa music version of this
is probably the best wayof going about it.
So even though it's notparticularly fun,
I thinkfocusing on the problems
(41:43):
and then highlightinga solution
of something that,you know, that works, you,
I think that that worksa lot
better than trying to dive
right in and be like,Have you tried this thing?
Put your music app on hereand this will happen and
it's awesomebecause of these,
you know,because it's decentralised
and self-sovereignand you know,
a lot of peoplejust don't care about it.
(42:04):
And a lot of people,
there's justso many different steps
to, to get into it,you know,
what is an RSS feed,what is Bitcoin,
what are micropayments,what is the problem?
It's easierjust to start with what
I think they,
they know as a problemand what they've
experiencedthemselves. And
honestly, that's the bestway that I've found of
(42:26):
of going about thisand in highlighting
these sorts of things.
So yeah, just a little pro
tip that evangelisingno one really enjoys it
and yet
even though you'reenthusiastic
about it, just,just be mindful
of howyou are coming across
because I certainly havebeen guilty in the past of
Yeah, yeah.
You know,
like testing it outfor sure
(42:48):
and telling peopleabout things but it,
it doesn't,it doesn't always work
and sometimes it doesn'tcome across that great.
So that is my tipfor this week.
App or service highlight.
I've purposely stayed awayfrom a lot of linkages
to things
how you can
exactly do this asa musician, as a listener.
(43:08):
So I will I'll give justa broad one here, which is
probably like a basic goodstop point is wave like
so w i v l.a k e
so if you go to wavelike dot com,
I think they've gotsome pretty just
it's it's an easy experience for those who want to
now nowknow more about the
(43:30):
all sides of the equationbecause it is useful to
be able to listen toand it's also useful
to be able to sign upif you are a musician.
And so basically likeif you go to the website,
turn up the valuefor your biggest fans.
We envision a new
online world
where creatorsand listeners can freely
transact with one anotherin an open ecosystem
so relatively easy.
(43:51):
And then it's got some
talking abouthow it's easy
publishing,universal distribution
and what it's all built
on, which is likein payments.
And they're very,very easy.
If you go to the website,
there's a play buttonright down the bottom
so you can start listening
to something immediately.
And if you're a musician,
you can start goingto the about section
and learningmore there. So
(44:12):
that's probablyjust the the easiest way
at the momentfor just beginning aspect.
Next week we'll get into
the more complexthings and, and kind of
how a lot of this stuffworks under the hood.
So yeah, we've,
we've explored thatand a lot of the concepts.
Next weekI'll just be able to refer
to and saycheck out this episode.
So that is my appand service highlight.
(44:34):
Let's finish off
with some value for valueas usual,
I give 15% of each episodeto particular people
in addition to the 5%that is going to
some developers.
So 5% goes to the podcastIntex slash fountain.
And this week
I'm going
to give 5%to the three people
who I'm goingto play music for.
(44:55):
So I've already playedAinsley's song
and I'm also going to playthe song
Making Beans from Abeland the Wolf.
And I'll
give 5% to Spencer and5% to Abel Kerby for this.
These
once again, I'm tryingto just highlight here
how music it's it'sgot this ineffable quality
(45:17):
to it. It's it'ssomething passionate.
It's something that peoplereally care about
and are willingto spend a lot of time
and money and justinvestment of things into.
And, you know,I don't have the access to
a lot of the complexthings
which I could do thisin a better way.
So when you are listening
(45:38):
to just their music,all of the money
goes directly to them.
So instead I'm
just going to have to dothis kind of basic way.
And the reason I can do
this is once again,the good will.
I know
assessments areand Albuquerque,
I've talked to thembefore.
I've asked them before
to domusic, and I have indeed
played musicon one of my shows.
So it just soso I've got some credits.
(46:00):
I was talkingabout this probably
a year ago, I think in
in an
episode which I
titled Decentralised Musicon the memorial.
So I'll, I'll Yeah.
Include a link to thatsomewhere and the Yeah.
Just,just the aspect of okay,
I know these people,I talk to Ainsley as well,
(46:20):
I was like you know, doyou mind if I play a song?
I want to be able to do itin the complete
correct way.
And she's just like, Yeah,yeah, please, please do.
So 5% of this is goingto her to suspense
and to applicablefor the 15%.
Once again,
a lot of this relieson kind of the goodwill
of thinking that, okay,the pie is going to grow.
(46:41):
It's it'snot a zero sum game.
People love these things.
The more people know aboutit, the better it gets.
So, yeah, until next week
we will be talking moreabout the complexities
and maybe some of
the problemswhich will be coming up
and some of the solutions
to those problems as well.
But until then,I really just want to
thank you for joining mefor another episode,
(47:02):
the Value for Value Show.
And I'm going to let SirSpencer and Able Kirby
take it away with theirband Able and The Wolf.
And thesong is Making Beans and.
Able and The Wolf (47:23):
I can't Sit Still
because it's so
Will.
They're talking to me,
but I can't know what itmeans.
It's hard to pay attentionwhen you're busy
(47:43):
making things upstairs.
I'm busy making big
and I'm staff
react fine,you know what I mean?
And these peoplecome to see you
and that's the part.
(48:03):
Some moreor it's a better.
Way is it stood
there and
they're
here and and. And.
(48:23):
Now I know
I live in a hall.
In a tree
scalp of me on screen.
I mean,
all these people
sure were nice to mewhen they dragged.
(48:47):
Me downDolly on the stage at all.
Well, no, I know whereAnon calls me.
They just
make it big
and I'm
very fine,you know what I mean?
(49:08):
And allthese people come up
(49:40):
and it's
(50:04):
their
first
concert still.
The world of music is changing
and it's for the better.
Okay.
Welcomeeveryone to another value
for value episode.
My name is Kyrin, hostof the Mere Mortals podcast.
But also this onewhere I dive
deeper into the valuefor value model.
I look at how this model
(00:20):
is going to helpdigital content creators
in a waywhich would allow you
to get paidand also connect
with your audience.
Just a reiterationthat I'd do this
live on a Wednesdayor on the border
point on a Tuesday,Wednesday.
So midnight UTC zero.
So just plus or minuswherever you are
in the worldfrom that on to there.
(00:42):
And yeah, I would loveto have you join me into
for one of theselive ones.
Now I just want to
start this off withjust saying V for V music.
It's going tochange the world.
So the topic for today'sV for V music.
Musiciansare finally getting paid
and this is going to bea two parter.
So the first portion of
this is going to be reallylooking at
(01:03):
the general concept.
What is V for? V music?
Why is it important?
And then in the next
episode, next week,we'll get into the weeds
and some real resourcesfor those who want to
really participate in thisand a try out what what
this stuff is.
So let'sgo into the top level.
What is V for? V music?
And basicallyit's a way for musicians
(01:24):
to distribute their workusing RSS.
And we have already talked
about in previous episodeswhy this is powerful,
why you would want RSSin your in your feed.
So this was
episode number 41.
What is a podcast?
I was really talkingabout it there.
And then alsoeven in the one
before that episode 40,which was about
(01:45):
how RSS can make your feeddecentralised,
be self-sovereignpermissionless
and allow some valuetransfer going on as well.
So we already talkedabout that.
And let'sjust start off with
I guess it's like what,
what's
one of the main problems
that's currentlygoing on with music now?
All of this
I'm kind of usingfrom Second-Hand sources
because I am nota musician myself,
(02:06):
so I haven't
fullygot to experience these,
but it seems to be
rather unanimous
with most of the musiciansthat I've talked with.
And it seems to bethat the
the system of distributionis kind of
I hesitate to use the wordunfair, but it it's
very close to that.
It it doesn't very muchseem to be an inside
(02:28):
a game or it's only suitedto particular people.
Only certain peoplecan can kind of win
in this industry,much like with
the radio or the TV
industry.
You hadto have a certain level
of knowing of people of,
you know, playing the gamesomewhat to speak,
(02:50):
and then something likepodcasting came around,
which was like, Oh, cool,
I can just do thisfrom my own home.
You know, I don't have togo into a radio station.
I don't have to, you know,appease these bosses.
I can just produceexactly what I want.
And the, the,
the methods,the tools of distribution
allow me to do this
at such a niche,individual level.
(03:10):
And so what we can seenow is that there is this
kind of barrier pointfor for musicians,
which is, well, you know,
maybe they can createtheir own music, but
what do they do with itthen?
How do they get that outto people?
And the distribution fromthis seems to be
you need to put it outon everywhere.
And so there is a
ridiculous number
of streaming platformsdue to be able to do this.
(03:33):
And probably the ones thatyou will be most aware
of would be things
like SoundCloudwould be Spotify.
I probablyI would even put
YouTube in there as aas a way of distributing
music as well.
They certainly have theYouTube music app as well.
So there's there'sa variety of larger ways.
But as we'll go on
(03:54):
to a little bit laterwith Ainsley Costello,
she has a post
where she was talkingabout how she is up
on a ridiculous numberof apps
of streaming platforms.
And I think she saidthere was 60
plus that she is on,which was even news to me
because I didn't knowthat there was
there was that many.
(04:14):
So basically
you can putall your stuff out there,
but you have to bevery active in doing this.
You know,if you put in your song,
you have to put it up on
a ridiculousnumber of places
to try and get it outonto all of these
different various things.
So not not super, superhelpful in that regard.
And this is in comparisonto something
(04:36):
like podcasting where
I only have to put myaudio file up in one place
and then I can linkto all of these
all of these placesto that audio file.
And then it's like, okay,you can check out here,
whereas I don't have tomanually go and do that,
I can just put itall in place.
This is kind of likewe were talking about
with RSS,you know, just one,
(05:00):
just one placeand one source of truth
of of one thingthat I earn
and everythingcan point in there.
And yeah,
I just found it on 60plus streaming services.
So that's an insane amountbut that she is on.
So I guesswhat is the main
difference between thisand maybe something like
So that's a problem.
(05:20):
Distributionis obviously one problem
that's in the musicindustry at the moment.
Another one is thatthere is a, I guess,
lack of being able to bein the money yourself.
So if we think of
somethinglike Napster or MySpace,
you could say,okay, well, musicians
kind of had a placeto put their music
and a lot of peoplecould link to it.
(05:41):
Once again,it's not as good as RSS.
I personally,I believe, but
that you could have that.
But once again, how do youget paid from that now?
How do you make moneyfrom this?
And the current royalty
rangefrom what I once again,
what I have gatheredfrom the outside,
it seems to be
somewhere inlike the 10 to 30% range.
(06:03):
If you're a musician
and people are playingyour music,
you're only getting 10to 30% of what's actually
what couldpotentially be coming in,
which once againseems kind of insane
to me, that it's so low
if you're the ones
who put all
of this togetherthat you only get such
a small,small portion of this
(06:23):
and which will then getdivided up even further.
If you're in a band
and now you have to splitthat 10%,
what,five, six different ways
or that 30%, fiveor six different ways.
So the current
royalty schemeseems to be rather unfair.
And let's just take
something like Spotify,which is
this is oneI'm reasonably confident.
I know how it works.
(06:44):
Spotify does it like this.
So they
earn money from userspaying a premium thing.
So this will be $9 a month
and then there's anothertier or two above that.
And what they dois they kind of collect
all this money and then,
you know,a portion of this
will get
distributed to the musicrights associations,
all of these peoplewho they're getting
(07:06):
and the bigger stuff from.
So this is think like,you know,
the mega bands,the Taylor Swift's
The Red Hot ChilliPeppers, things like that.
A lot of it will goto those record companies
and then that will getdistributed up,
perhapseven to the artists
from there, or it willjust go directly to them.
And so
the the
amount that you paygets divvied up
(07:27):
into all of thesekind of different places.
And what happens is
the amountthat's remaining left
for all of the artists,
it gets divvied up basedon the amount of plays.
And so those who have
a lot a lot of plays,they get more money.
So once again,think of the very,
very famous,most popular artists.
(07:48):
They get a ridiculousamount.
Now, what this means isif you have someone
who is maybe marginallyor moderately successful,
maybe you get,you know, 100,000 people
tuning in to musica month.
And what how much do youactually get from that?
Well,I believe it's somewhere
in the range of 3 to $5per thousand streams.
(08:10):
As I've looked into it,
this seems to vary widely
as well
because they do all thesesorts of things
based on the countryand whatnot.
And I'm going to guessthat it's kind of scurries
around the smallerartists as well.
So let'sjust say $2 per stream.
If youcompared this to something
like the advertising modelin podcasting
and which for me has been
(08:31):
really equivalentto the value for value
in terms
of the actual amountthat I receive versus
how many peoplehave boosted in
and how much you golisten to
is closer to $20 perthousand.
So this is where it'sreally intriguing.
You go, okay,well, is music worth,
you know, ten timesless than podcasting or
is is podcasting worthten times more
(08:53):
in terms of the actualtime it creates?
Did takes to create music?
I would probably say noin terms of the actual
output of how it makespeople feel the value
that people get from it.
I probably wouldn't haveparticularly said sorry.
If anything,I would have said
music is a muchmore powerful and medium.
But you know, this is alljust going to show.
(09:15):
There
does seem to be somethinglike a little bit broken
with the waythat it's working.
And I think mostly
this is dueto things on the layer
which is not connected
to the
actual content itself,but it's all of the things
around it.
And so what happens iseven if I have a premium
Spotify thing I'mlistening to exclusively,
(09:39):
you know, artiststhat I really enjoy
who are maybe
not as mainstream, I'm
almost none of my money
actuallygoes directly to them.
It always
it goes to
these other artistswho are getting played
a lotand downloaded a lot.
But it's,
you know,
my individual personaltastes are not going to to
where I thinkthey should be going
or where I would want themto go, I suppose.
(10:01):
But because so much ofthis is behind
the surface,you have no idea.
And so what I wouldjust say is that the
kind oflike top level view,
there's a lot of problems,
but it's notat the technology layer,
it's notat the distribution of it.
So, for example, it'snot that there's better
sound quality on differentapps.
(10:21):
It's not thatthere are better playlists
necessarily.
It's not that there'sbetter algorithms.
It's it'skind of like the problem.
The problem is,is that the incentives
and how thingsare getting distributed
and how thingsare getting divvied up.
And it seems to be thatthe smaller artists
are getting a pretty shitgo of it and they
(10:45):
the amounts or the thingsthat should be happening
if they do havea loyal fan base,
you know, they're thousandtrue fans.
We've heard about this inthe Kevin Kelly article.
If you have 2000 truefans,
you should be able to makea living from that.
And if they're willingto pay, you know,
$10 a month, that's 10,000a month that's easily
(11:06):
liveable off.
And it seems to be thatthose 2000 true fans,
there's no easyway for them to do that
through musicat the moment.
And what I thinkis going to change
that is valuefor value music.
So let's let's talkabout that.
So basically,
what isvalue for value music?
Well, it's being able
to haveyour music distributed
(11:30):
in this manner
that I was talking about,
where you canjust put it in one place
and everythingcan link to that.
So this is using RSS
and it's being ableto monetise that much
like we were talkingabout previously
with the boosted gramsand through micropayments,
the exact same mechanismyou can put
in a lightning wallet
and this willthen be able to
(11:51):
be a kindof source of truth
for people to say, okay,
if I want to contributedirectly
to my favourite artist,my favourite musician,
this is the waywhere I know
if I boost in
or if I streammicropayments,
it will godirectly to them.
So if you want to know
more about that,
check out the previous two
episodes on micropaymentsand on Booster grams.
(12:11):
And soI think this is going to
change revolutionisethe music industry
just from the simplefact of musicians
are going to realise,okay,
this is actually
changing things
and this is actually goingto make them
more fair for meand I can distribute it
in a just simplerand easier manner
rather than tryingto put it on
(12:32):
60 streaming services.
So I'm going to get into a
little bit of the history,I suppose, of this.
So because I've beenfollowing this
pretty closely for thelast year and a half and I
because I think it is
going to be probably
one of the biggest
use cases or thingsthat really will maybe go
viral from the wholepodcasting 2.0 ecosystem
(12:53):
and micropaymentsand things like this
is this abilityto do it with music
because there's just
something about musicthat people really
it transformsand it creates people
to do things in a more
emotionally charged waythan perhaps a
podcast like this. So,
so let's just go on
to likea I guess you will,
(13:15):
one of the first peopleto do this.
So and specificallyI'm talking about
you're a musician.
You want to put your music
up on somewhere, butyou get like a Spotify.
It's a kind of shit deal.
SoundCloud,you know, Bandcamp,
all of these placesthat they're not really,
reallyhelping me that much.
And so there was twoartists.
One was called So Spencer,
(13:35):
and one was calledAbel Kirby,
and they'reboth podcasters,
and they created a bandcalled Abel and The Wolf.
And basicallywhat they did is they
went throughthe whole process
of creating an albumspecifically
just to be ableto put it up as a,
as a band, as a music
(13:57):
specifically designedto be put up on RSS.
Becauseone of the problems is
it it's not comingacross super, super easy
at the moment. It's not.
The whole processtakes a bit of time.
And if you're tuning intothis show,
you should know likeeverything is of
this is runningwith scissors.
All of this is really new
and it takes a bit of timeto kind of work up into.
(14:19):
And so if you want to knowmore about this,
go check out episode
36 called a Craft of thisvery show because
they created a podcastwhich was
showcasing their wholedesign process of how they
they went through this.
So episode 36 of theof the previous season
of season two.
(14:40):
And so what were some ofthe things they did?
Well,they created a transcript
which would be containingthe lyrics of their song.
So you can see, okay,this is
showcasing somethingthat you would maybe find
in a CD
of previous generationsbefore that was the thing
album Art, which they usedas episode images.
So for each,
(15:01):
for each
track thatthey had on their album,
they would have an artistdesign
a, a picture which wouldrepresent that song.
And you'reseeing one of those
appearing up on yourscreen as we speak.
They had splitsfor the artists.
So once again,
this was somethingI was talking about
with, say, in the BoosterGraham's and in the
(15:21):
streaming of payments.
You can split things up
directly within your feed,
so you don't need to have
a contract of one persongets all and all the money
and then you relyingon them to divvy it up and
you don't rely on them.
So you need a thirdparty who,
who's trusted to be ableto do that.
Now, in this case, it'slike it's all written,
baked in.
If you want to give 20,if you got five bandmates
(15:43):
and you just want tosplit it up
evenly,you know, 20%, 20%, 20%,
if you want to includemore people in on that,
you can or less people
or one person is doingmore work,
you can change thoseand it's all beautiful.
And so that'swhat they did.
The money was being splitup and
in these various ways,and it was for each
individual track as well.
(16:04):
So once again, itgets this granular level.
It doesn't just have to befor I care.
Well,you know, this person
worked really hardon this particular song,
so we were going to tryand do it as a whole.
Of all the money comingin, how should we do that?
No, it's like, no,you can get paid directly
for the work that you did.
So this is
(16:25):
really, really cooland I'm going
to be playingsome of their music
a little bit later onas just a as a teaser for,
I suppose, or showcasingof of how this works.
And so yeah,that was kind of
one of the first use caseswhere I saw a musician
actually creating this
and putting it upspecifically just to be
used in this manner.
(16:46):
There were a couplethat had done this before,
but this was probably
the first
that I saw where
they really created itin this way.
Now, one of the things
that's really prompted meto talk about it
on this episode
and in the
in the next episodeas well
is something calledGrand Bull.
And so this was createdby Adam Curry,
who you should knowwell, well,
(17:06):
be well aware of by now.
He is the kind ofco-inventor of podcasting,
a former MTV veejay,and the guy
who's going to spearhead
spearheading,along with Dave Jones, the
the podcasting2.0 movement of of trying
to make podcasting better
and once again,
check out the episodeI did, I think
(17:27):
three or four weeks agocalled
Emergenceof podcasting 2.0
then.
So Booster Grand Bold
is basically where he
highlights songsthat he really enjoys,
which have beenput up in this manner.
So it has been an artisthas gone, Yep,
I'm going to put it upin an RSS feed.
I'm going to
put in a lightning addresswhich will showcase
(17:48):
or will show where peoplecan send money to.
And so what he is doingis now
he's createda basically a DJ,
a radio programwhere he is the DJ
and he introduces like,
you know,this is Bruce Grand Bowl.
He's got all of these
jingles and things
and then he playssome music,
you know,leads up into it.
And he's a professional.
He's done
this professionallyas a career
(18:09):
for many,many a year before
becominga full time podcaster.
Now was he?
So he
really knows how to createa good show
that he'll leadinto the music,
the musical play.
And as the musicis playing through
some just really,really cool
technology, I guess thethe money goes directly.
So if people are streaming
(18:29):
in, the money goes
directlyto the artist then,
or if they're boosting in,
it goes directlyto the artist,
then when he comes backon, it will go to him.
Then when he, you know,talks a little bit
and then he playsthe next song,
it'll go to that,that next artist.
And so basicallyhe's created
three showsat this very moment,
each of these
being roughly
(18:50):
about an hour long,and he's playing about
ten shows per episode.
So we can see, okay,this is really cool
because it solvesa couple of things.
The discoverabilitycomponent,
you know,
if he'splaying a show on there,
this is how radiohas always, always worked.
If you hear a really coolsong on the radio,
it's like,Oh man, I want to listen
to more of that.
(19:10):
I'm going to go outand buy this CD
or I'm going to listenor stream and more.
And I think this iswhere the madness
is going to kick off,because
I can really see thisjust expanding
as musicians realise,Oh wow, I'm actually
getting paid for
for peoplelistening to my music
because there's people
out there like me who havea very much kind of
(19:32):
disposition towards, Yes,if I'm listening to
something,I want to pay for it.
And so wouldwould I rather spend,
you know,
$9 a month on Spotifyor would I rather spend
$9 a month streamingdirectly to people who
I think they deserve it?I'm going to do it my way
and I'mgoing to stream in to
(19:53):
music that I listen toand I'm going to stream in
or boost into showslike Adams, which showcase
music and is kind of a wayfor me to discover it.
So very, very,very cool on that point.
And the thing is, this is,this is all I would say
I would say
kind of revolutionaryas I was referring to
(20:14):
at the start,
because he's he's triedthis once before
and he never got itoff the ground because
it was just too hardwith the record labels,
with the
right associations,all looking at podcasting
and it's like,
No, no, you can't do thatbecause we can't
see where this money goes.
(20:34):
You know,
you get this money,you have to send it to us.
And it was justtoo much of a hassle.
There was just too many
too manybarrier points with
with, I suppose, the moneyside of things.
And I think that's get
solved by the direct peerto peer nature of one,
it being peer to peer.
(20:55):
So there's no middleman
involved,there's no trust needed
and to
with the functionalityof being able
to split things upin various ways, there's
there's going to be lesshave the hassle of,
oh you didn't send methis mount, you know,
you got more than me,this sort of thing.
It's like, no, it's allthere, it's all laid out.
And if if you have
a problem with that,you should have
brought that upas we were typing in
(21:17):
or who's going to getwhat amount of split.
So I think this willchange things a lot.
With that.
Before I go on to
some ofthe the fundamental point
why I think this
is really going to work,
I just want to givea shout out to Ainsley and
a couple of stats
that we've just seen
across these variousdifferent shows.
So I've got a tweetfrom her here.
(21:38):
Once again,this will be appearing up
on your screenas we speak.
And so Ainsley Costello,she's a young musician
in the United States.
I'm not exactly surewhere she is from.
I think probably
the Nashville area
or she isshe lives in the Nashville
area at the moment.
And so she was justposting on July 25th.
So she had posted upher music on Wave Lake
(22:01):
and it kind of one of her
songs calledCherry on Top, really.
It got people intoto like, Oh, wow, this is
this is a great song.
I want to play more of it.
And so she saidfor five days on on that
she got 180,372 SATs,which was equal
to about 52 U.S.
dollars and onfor the whole of April 20,
(22:22):
23 on 60 plus streamingservices, she got $22.
So we can even seejust from
that little example there.
Okay,she got double roughly
in in these lightningpayments from people
directly streaming toher and boosting to her.
Yeah,she got a lot lot more.
Now the funny thing is,you know this was what,
(22:45):
three weeks ago.
It's basically ten nextthat amount.
So I know she's passedthe 1 million sets range
and I'mcertainly sure that
that other numberof the 60 plus streaming
services hasn't ten.
So just for her
she actually had a hit
song and people loved itand they boosted in
and they streamed in
(23:07):
and it was a ridiculousamount
more than
she would have got
just from being on all ofthese other platforms
where they dotake their cut
and where it isn'tdistributed
evenly and fairlybased on people
and how much they enjoythat music.
And so
once again,
this is
just getting to the pointwhere I think like
V for V music,
(23:27):
someone like herwhere she has
something like thathappen,
she's going to
she's going to tell her
friends about itlike she's going to
she's going to be like,Wow, this is something
completely differentcompared
to the grinding away
that I've been doingon all
of these other platforms.
So that was just aone little use case there.
And thenI want to go on to
(23:47):
some stats that AdamCurry himself published,
which was justwhat was happening from
the Bristol Grand Bowl.
And so he says, here'swhat podcasting 2.0
has donefor value for value music.
On just threeepisodes of music and bowl
over 4 million setsand to the artists.
And then he'sgot a breakdown here
of how this hasbeen done by apps.
(24:10):
And we can see that
there was through Boucher
like customand accurate cost offence
and podcast index pod
friend pod verseand the split kit.
So this has all gonedirectly to artists,
which is equalto close to 1,200 USD.
So that's a fair bitin Australian dollars
as well.
It'd be like 600, 1700,something like that.
(24:32):
So we can see.
Okay, there's doesn't
use casefor this and it's not just
middling money.
That was what, 30,
you know, roughly 30tracks being distributed.
And what's that 1200.
So that's like,you know, 40 bucks a song.
You know,
imagine if you
you had your songget played
(24:53):
once on the radio andyou got 40 bucks for it
like that.
That would be prettydamn good.
And there's moresome more complexities
coming up withwith all of these things.
And I will definitely be
talking about thatin the next episode
because there is
quitea few complex things,
but I think this isall just showcasing that.
Yeah, value forvalue music
there is a need for itand one for it
(25:15):
and then drive for itand people are willing
to pay to pay for it.
And I think artistsare going to be
the beneficiary of thisbecause they have been
some of the oneswho've been screwed out of
I think just in a
this is yet,you know what I would say
it's an an unfair system.
And so I think this isa more fair one for sure.
(25:37):
BeforeI get into my my final
fundamental points,why I think this is
really going to changeand how this kind
of relatesto podcasting as well.
I did just want to play
the Cherry on top songfrom Aynsley Costello,
and this will also bean example of how
how we can dovalue for value music
even on this very show,on this very episode.
So I'm going to letAinsley take it away and
(25:59):
I'll be right back soon.
Ainsley Costello (26:15):
Oh no.
Oh, does.
Guys,
I know that you.
Know thatI knew about you play,
but you had to go toevery.
One of my attentionthat you had and one.
But I bet you're wonderingwhy killing all nine
(26:37):
doesn't hurt my back likeyou thought it was okay
for meto lie, to get good.
You put
food on the table,
leave it out. Try.
She loved me.
I said this.
(26:58):
Hear what she said.
I'm sorry.
I know that if I did,I would say Go to the.
Corner of the room.
Because I know that youare used to having it all.
Given back to. You.
(27:18):
And though it might beshelved in the same
cry like a little boy
might deservea third of doses of COVID,
I don't feel the pain.
When I first
met your mother,I remember.
Right.
Well, she'll be me.
(27:41):
Some wine.
Sorry, I'm dry.
I'll. I'll
sa. I'll.
I'll will.
Honey,I know that all is well.
(28:03):
Or maybe I don't know,
but I have to tell you.
See, the way can
handle this placeat the end of the day.
But you may,but I'll leave it out.
Right.
(28:23):
Well I've all get together
reaction that you want
differentareas of your life.
Put it out right.
Oh shit.
I want your reaction.
This one.
I'm sorry.
I'm down.
(28:46):
I'm sorry.
I'm sorry.
I got
Kyrin Down (29:03):
all right, pumps.
Thank you, Ainsley,for allowing me
to play that on this show.
Let's
get into the fundamentalpoint
before I get onto thefinal booster gram lounge.
So the value of a valuesystem works on goodwill.
I think this is somethingthat I've established
kind of rightfrom the start.
You know, it'sgoodwill on my part
to put this up on for freethis,
(29:25):
this episode,this everything that I do,
you know, you never haveto pay for it.
I'm always going to bethe one
giving youthe value straight up.
And that's alwayshow it's going to work.
And I think we can
take this furtherwhere it's like, you know,
I'm now
relying on your goodwill
to your conscience to say,
Did I enjoy thisvalue for value?
(29:45):
So did I enjoy this valuefor value music?
And I ask that
you just
send it back into meand I hope
that you do that now.
I think this is going to
requiresome fundamental changes
and maybe the waypeople view things.
So artists, for example,
they're going to haveto give up
complete controlover their music
when they put it up onsome of these services.
(30:07):
On on RSS, you're
kind of just releasing itout to the wild.
It's now like
if people want to play it
on a radio show,they're going to do that.
If they want to remix it,they're going to do this.
The, you know,it is kind of just like
a little bit of looseningof the reins
of no control of just likehere have at it now.
I think a lot of peopleare keen for this
(30:28):
and will do this
anyway because, you know,the unknown undiscovered.
And when you're like that,you just want anyone
to play it or hear itin any manner whatsoever.
So there is a kind of
goodwill on their part
where it's like, okay, I'm
just going to put this upand see what happens.
There is somewhatof an expectation
that if you're a podcasterand your creating a DJ
(30:51):
radio showlike this, like Adam
Corey was doing with Boostto Grand Bull
that you putin the correct split
or at least put in a split
of some sort
so that the artist, you'renot just
taking their musicand just playing it
there is an expectation.
It's not
I don't thinkit will ever be enforced.
Know, maybe
(31:12):
we'll talk more about thatin the complexities
lateron in the next episode.
But there isat the very least,
an expectationthat that will happen.
There's an expectation
that the listenerswill give back and that
they will do that.
Now, not everyoneis going to do that.
So of course notevery podcaster
is going to put itin the split for that
for the musicthat they're playing. But
(31:33):
for the most part, for the
most part, you wouldyou would expect this.
I think everyone isincluded as well.
This is anotherfundamental point where
just through the nature ofof how you can
you can send moneyin this way
using the LightningNetwork with Bitcoin
and potentiallywith others in the future.
It doesn't particularlyhave to be this,
(31:53):
but at the very momentit is,
everyone can get includedso the bandmates,
they can be put in split.
If you have
someone who
you know, the studiowhich you recorded at,
they can beput in the split.
You can have the peoplewho are financing you
whilst you're in a retreatand creating an album.
(32:14):
They can beput in the split app.
Developers
can get a percentage forgiving a great experience.
So I think it bypassesa lot of
entrenched middlementhat you had already seen
in the music industry,and it's incentivising
everyoneto to do the right thing.
Everyonegets a piece of the pie
(32:36):
by creating somethingbetter.
And I think what we're
going to seeis we're going to see
music apps do somethingthat will look like
a music app and willbe only just for music.
I think these thingswill start
to pop up in the future
and we're already kind ofstarting to see some,
but none that are really,really
(32:56):
distinct as of yet
because as I justmentioned, most
of the ways that peopleare doing it at
the moment is viaa podcasting app,
and that's just not
the best experiencefor playing music.
And it would be betterto have a music app
much like you have
YouTube music or Spotifyor any of the other ones
which are more suiteddirectly
(33:18):
for the music experiencebecause it does matter.
The experience.
So I think this is all
going to change
because everyone can geta cut, can get a split.
And then finally, evenjust going back to the
second episode of the
season,
which was talkingabout the
four different properties,
I think this satisfiesall of them.
(33:38):
So it's one you know,it's decentralised.
You can put up your music
in one place,but anyone can access that
from anywhere.
So this is usingthe RSS feed.
So if I just put up mymusic in this one place,
I don't
have to now go andput it up in a ridiculous
number of places.
And on the selfsovereignty aspect,
(34:01):
you know,I can own my own music
and this ispretty important.
You need to be ableto own your own music
to be able to put itup into it like this so
that it satisfiesthat permissionless.
You know,
I don't have to askSpotify to put my music up
if it containsnaughty words,
if it contains this,if it deals with themes
(34:21):
which are perhaps taboo,you know, once again,
you don't have to
beg anyone to be ableto put your music up
or for them to playor for even just
outside influencesto come in and say,
you know, your style.
I think it would be better
if you started
singing about thingswhich are more
suited to a demographic,you know,
(34:42):
couple of years
a decade younger than youand all these
sorts of things.
I think
I think you can bypassa lot of that if you
if you want to bea more pure creative
and put it up in a ina place just where it is,
you don't have to askpermission.
You don't have to bend
to the music industry'swhims and wills and kind
(35:02):
of sell your soul.
And then finally,the value transfer,
of course, is
when you're
doing it through RSS,you are doing it
through thisestablished way.
I think it is going tomake a big, big difference
on that aspect.
So yeah, wholet me go for the music.
I hope I have donea reasonable job
of explaining what it isand why it's important
and why I think it'srather revolutionary.
(35:25):
So let'sget into the boosta
gram lounge this weekand then we'll
yeah, we'll
have a couple of more tipsand things like that.
So let'stake it away. Adam Curry
Adam Curry (35:40):
Welcome to the Value for Value.
Boostagram Lounge.
Kyrin Down (35:47):
Alrighty, the Boosta Gram Lounge, here we go.
So pro tip number one,
it's important to checkyou'll have Booster Grams
if you checkedin last week.
You'll see that I misseda couple that were there.
So apologiesfor Who was that?
Robert Suzuki and China
for only doing thatat the end this week.
I am reasonably sure that
there's no live onescome in.
(36:08):
So thank youfor those two though.
So we did get three boostsfrom this last week.
So I'm just goingto read these out
and I'm going to try it in
the lowest to the highest.
So we've got CoachMcCormack here coming in.
I feel like I caughta wave with v4v this week.
Thanks for the shout out,bro. New World Order.
So I was going to talkabout him,
(36:28):
but I might have actuallymissed that in my notes.
Yeah, sorry I did.
So Ainsley had a chatwith Coach
McCormickon this show, America Plus
I think it was a really
great interviewbecause one the age level.
So a reasonably closecalls,
actuallya pretty good interview.
All of the first timeI've heard him
really doing an interview.
And I think he absolutelynailed it.
(36:49):
He knows a lotabout value for value.
He knows a lot
about the creative aspectbecause he himself is
kind of more of
like a filmmaker, artist,that type of thing.
And yeah,
I just think that wasa great interview.
So if you want to knowmore about
Ainsley Costelloand just the
the experience she hadwith V for V music,
I would recommend checkingout his show in that.
So you did Cat IndeedCatch a Wave and it's
(37:12):
awesome to see that.
So that was five
492 sent using fountainthat is his favourite
number. Thank you. Cool.
We've got another one herefrom Macintosh.
Boost, boost, Boost.
One quick note,
I sought my boostapp by episode
when I get boostfrom more than one episode
and I think you mentionedthat as a presentation.
I do like Kohl's idea
of smallest to largestbuild the tension.
(37:33):
MacintoshSo thank you very much.
Macintosh.
Then you add a little oneemoji in there as well,
and that was 10,309 setsand using fence
and yeah,
this is probably goingto be
I'm really interested
to see how this would be
in the futurebecause at the moment,
from all the showsthat I've seen, it
very much does seem thatpeople are boosting in
(37:53):
for the latest.
By and large,
I'm really keen to see,you know,
say Joe Rogan got onto podcasting to follow.
Would there be peopleboosting in old shows?
Old ones?
And what I have noticedis when I was doing this
with podcasting
2.0 and I was catching up
and I was boosting oldepisodes,
(38:13):
they themselvesdidn't really
get it as
much because I wasboosting something from,
you know, months agothat you're
talking about months ago.
So it does make itof harder like that.
So I think it is going tobe very much based around
the latest episodes,and that's probably
just how it will work.
I think that's how
the value for value modelparticularly works.
(38:35):
But we'll have to see.
And this can perhapseven be a
maybe a detrimentto music, which is
unless you're constantlyputting out new music,
maybe you don't getsome of the
the royaltiesbecause people are like,
Oh, I've listened tothis show 500 times.
This episode, this music500 times before.
I'm not going to payfor this one.
I think that can beovercome.
(38:57):
But yeah, it's
is somethingto look out for, for sure.
And yeah, I will mentionthat in the future.
Thank you.
I, I've alwaysjust read him out kind of
willy nilly to be honest.
And then finally coming inThe Godfather himself
at Carrie and his 1999in his fountain handle.
I'm not sure why.
This is anothergreat episode
(39:17):
explaining the Valley
Value model exclamationmark,
25,000 SATs and musicfountain.
We thank you very much,Adam.
And once again,the Bridge to Grand Bowl.
I would really recommendpeople
checking out that show
Macintosh also has onecalled Generation Bitcoin.
If you want to know moreabout the Bitcoin aspect
and that boosterGrand Bowl,
(39:38):
it's it'sa really good show.
It's worth checking outeven if you have no
interest in the sendingof money back and forth
of supporting artistsor anything.
It's worth
it just in terms ofbeing a radio show itself.
He's he's a pro. He'sreally, really good at it.
And there'sa couple of more shows
cropping up
and I'll maybetry and get to them
(39:59):
in the nextweek's episode.
So that is the bestgremlins for this week.
I really, reallythank you.
Thank you,everyone who sent that in.
I was doing a coupleof like quick calculations
and I thinkI need to get around.
I thinkit was probably about
500,000 sets
to overthe course of this year
(40:21):
to kind of make up
how much it coststo host the show.
So I would really love toto try and get to that.
So this is a huge boostto getting that.
So thank you.
Thank you very muchfor the
the three people who didthat and everyone who was
extremely in as well,
because I did see somestreams coming in.
Let's jump into some tipsand I'm going to say from
(40:41):
this week,the tip is obviously going
to be relatedto value for value music.
A lot of it
is how you present itto musicians as well.
I saw a bit of chatteron the podcast index and
it evangelisingis not the way to go
about this kindof going out to people
in their face about it.
(41:02):
And it's it's hard
because you can beenthusiastic
about a thing, obviously,like I am
for podcasting and for forvalue, for value music,
but it's best not to justshove it in their face.
And I've found that for mepersonally,
asking about the problemsand have fixed them
for myself
(41:23):
via podcastingtwo point out,
has beenthe best way to do it.
And then if
they area musician themselves,
you know, putting
like a little cheeky righthook at the end of, Oh,
and by the way, there'sa music version of this
is probably the best wayof going about it.
So even though it's notparticularly fun,
I thinkfocusing on the problems
(41:43):
and then highlightinga solution
of something that,you know, that works, you,
I think that that worksa lot
better than trying to dive
right in and be like,Have you tried this thing?
Put your music app on hereand this will happen and
it's awesomebecause of these,
you know,because it's decentralised
and self-sovereignand you know,
a lot of peoplejust don't care about it.
(42:04):
And a lot of people,
there's justso many different steps
to, to get into it,you know,
what is an RSS feed,what is Bitcoin,
what are micropayments,what is the problem?
It's easierjust to start with what
I think they,
they know as a problemand what they've
experiencedthemselves. And
honestly, that's the bestway that I've found of
(42:26):
of going about thisand in highlighting
these sorts of things.
So yeah, just a little pro
tip that evangelisingno one really enjoys it
and yet
even though you'reenthusiastic
about it, just,just be mindful
of howyou are coming across
because I certainly havebeen guilty in the past of
Yeah, yeah.
You know,
like testing it outfor sure
(42:48):
and telling peopleabout things but it,
it doesn't,it doesn't always work
and sometimes it doesn'tcome across that great.
So that is my tipfor this week.
App or service highlight.
I've purposely stayed awayfrom a lot of linkages
to things
how you can
exactly do this asa musician, as a listener.
(43:08):
So I will I'll give justa broad one here, which is
probably like a basic goodstop point is wave like
so w i v l.a k e
so if you go to wavelike dot com,
I think they've gotsome pretty just
it's it's an easy experience for those who want to
now nowknow more about the
(43:30):
all sides of the equationbecause it is useful to
be able to listen toand it's also useful
to be able to sign upif you are a musician.
And so basically likeif you go to the website,
turn up the valuefor your biggest fans.
We envision a new
online world
where creatorsand listeners can freely
transact with one anotherin an open ecosystem
so relatively easy.
(43:51):
And then it's got some
talking abouthow it's easy
publishing,universal distribution
and what it's all built
on, which is likein payments.
And they're very,very easy.
If you go to the website,
there's a play buttonright down the bottom
so you can start listening
to something immediately.
And if you're a musician,
you can start goingto the about section
and learningmore there. So
(44:12):
that's probablyjust the the easiest way
at the momentfor just beginning aspect.
Next week we'll get into
the more complexthings and, and kind of
how a lot of this stuffworks under the hood.
So yeah, we've,
we've explored thatand a lot of the concepts.
Next weekI'll just be able to refer
to and saycheck out this episode.
So that is my appand service highlight.
(44:34):
Let's finish off
with some value for valueas usual,
I give 15% of each episodeto particular people
in addition to the 5%that is going to
some developers.
So 5% goes to the podcastIntex slash fountain.
And this week
I'm going
to give 5%to the three people
who I'm goingto play music for.
(44:55):
So I've already playedAinsley's song
and I'm also going to playthe song
Making Beans from Abeland the Wolf.
And I'll
give 5% to Spencer and5% to Abel Kerby for this.
These
once again, I'm tryingto just highlight here
how music it's it'sgot this ineffable quality
(45:17):
to it. It's it'ssomething passionate.
It's something that peoplereally care about
and are willingto spend a lot of time
and money and justinvestment of things into.
And, you know,I don't have the access to
a lot of the complexthings
which I could do thisin a better way.
So when you are listening
(45:38):
to just their music,all of the money
goes directly to them.
So instead I'm
just going to have to dothis kind of basic way.
And the reason I can do
this is once again,the good will.
I know
assessments areand Albuquerque,
I've talked to thembefore.
I've asked them before
to domusic, and I have indeed
played musicon one of my shows.
So it just soso I've got some credits.
(46:00):
I was talkingabout this probably
a year ago, I think in
in an
episode which I
titled Decentralised Musicon the memorial.
So I'll, I'll Yeah.
Include a link to thatsomewhere and the Yeah.
Just,just the aspect of okay,
I know these people,I talk to Ainsley as well,
(46:20):
I was like you know, doyou mind if I play a song?
I want to be able to do itin the complete
correct way.
And she's just like, Yeah,yeah, please, please do.
So 5% of this is goingto her to suspense
and to applicablefor the 15%.
Once again,
a lot of this relieson kind of the goodwill
of thinking that, okay,the pie is going to grow.
(46:41):
It's it'snot a zero sum game.
People love these things.
The more people know aboutit, the better it gets.
So, yeah, until next week
we will be talking moreabout the complexities
and maybe some of
the problemswhich will be coming up
and some of the solutions
to those problems as well.
But until then,I really just want to
thank you for joining mefor another episode,
(47:02):
the Value for Value Show.
And I'm going to let SirSpencer and Able Kirby
take it away with theirband Able and The Wolf.
And thesong is Making Beans and.
Able and The Wolf (47:23):
I can't Sit Still
because it's so
Will.
They're talking to me,
but I can't know what itmeans.
It's hard to pay attentionwhen you're busy
(47:43):
making things upstairs.
I'm busy making big
and I'm staff
react fine,you know what I mean?
And these peoplecome to see you
and that's the part.
(48:03):
Some moreor it's a better.
Way is it stood
there and
they're
here and and. And.
(48:23):
Now I know
I live in a hall.
In a tree
scalp of me on screen.
I mean,
all these people
sure were nice to mewhen they dragged.
(48:47):
Me downDolly on the stage at all.
Well, no, I know whereAnon calls me.
They just
make it big
and I'm
very fine,you know what I mean?
(49:08):
And allthese people come up
(49:40):
and it's
(50:04):
their
first
concert still.
Popular Podcasts
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Therapy Gecko
An unlicensed lizard psychologist travels the universe talking to strangers about absolutely nothing. TO CALL THE GECKO: follow me on https://www.twitch.tv/lyleforever to get a notification for when I am taking calls. I am usually live Mondays, Wednesdays, and Fridays but lately a lot of other times too. I am a gecko.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.