In other words, let's give our young women the right weapons to fight with as they charge naked into battle, instead of ordering them to get back in the house and put some goddamn clothes on.
Amanda PalmerRead
I think people have been obsessed with the wrong question, which is how do we make people pay for music? What if we started asking, how do we let people pay for music?
Interpretation
The quote emphasizes a shift in perspective about music monetization, encouraging a focus on how to facilitate payment rather than forcing it.
Amanda Palmer challenges the common mindset surrounding the music industry by suggesting that instead of fixating on how to make people pay for music, we should consider how to enable and encourage them to support musicians. This perspective fosters a more positive approach to artist remuneration, promoting an environment where artists can thrive through supported communities rather than transactional obligations.
In practice
During a music industry conference to inspire change in artist compensation.
In other words, let's give our young women the right weapons to fight with as they charge naked into battle, instead of ordering them to get back in the house and put some goddamn clothes on.
There’s no “correct path” to becoming a real artist. You might think you’ll gain legitimacy by going to university, getting published, getting signed to a record label. But it’s all bullshit, and it’s all in your head. You’re an artist when you say you are. And you’re a good artist when you make somebody else experience or feel something deep or unexpected.
Jazz music is the power of now. There is no script. It's conversation. The emotion is given to you by musicians as they make split-second decisions to fulfill what they feel the moment requires.
Everyone talks about rock these days; the problem is they forget about the roll.
I'd love to do a duet, always wanted to work with Madonna, but she never asked.
That happens every time I get behind a guitar, regardless of what I'm saying, 'cause music is freedom and being free is the closest I've ever felt to being spiritual.
Hearing a whole entire room sing back to me, 'I guess it's true I'm not good at a one-night stand,' you know, I just can't explain the feeling. It's unreal. You feel like you've just read your diary to thousands of people and they've gone, 'It's okay. We still love you.'
In 1939, a newspaper ran a competition for the first load of boys off to war to pick their favourite singer. They chose me from my radio broadcasts. That's when I became known as the 'forces' sweetheart.'
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