Combien paieriez-vous pour la musique? | Culture $$$ | Rad (Loud, Milk & Bone, Safia Nolin)

Rad
15 Nov 201809:03

Summary

TLDRThe video script discusses the undervaluation of music in society, where people often assume musicians make more money than they do. It highlights the results of a survey revealing the average amount consumers are willing to pay for music services. The speaker, a musician, reflects on the challenges of earning revenue in the streaming era, comparing it to physical album sales, and emphasizes the importance of cultural value and government support for the arts. The script also touches on the financial investments required for album production and touring, and the need for creativity to stand out in the industry.

Takeaways

  • 🎵 The script discusses the undervaluation of music, with people often assuming musicians make more money than they actually do.
  • 🔥 Despite having more distribution channels and opportunities than ever, musicians still face the challenge of convincing people to pay for music.
  • 📊 A survey of 1285 respondents revealed the average amount they are willing to pay for music services, albums, or concerts, which is less than expected.
  • 💸 The speaker believes that people have been spoiled by free music and should be educated on different levels of music consumption.
  • 📈 The cost of producing music has increased, with the second album's production costs expected to be significantly higher than the first.
  • 🎟️ Ticket sales are a crucial part of a musician's income, with high ticket prices sometimes necessary to cover production costs.
  • 🚀 Streaming has become the primary source of revenue for artists, with millions of streams needed to generate significant income.
  • 🌐 The script highlights the importance of online platforms in discovering new music and the impact it has on live performances.
  • 🏆 Subsidies play a vital role in supporting artists financially, allowing them to think bigger and compete internationally.
  • 🏠 The financial struggle of musicians is evident, with some only recently being able to afford basic living expenses.
  • 🎼 The script emphasizes the social value of culture and the need for society to recognize and invest in it to maintain a healthy artistic ecosystem.

Q & A

  • What is the main issue discussed in the script regarding the value of music?

    -The script discusses the undervaluation of music, where people often think it's easy to create, like playing a guitar around a campfire, and that musicians make more money and have more support than they actually do.

  • What did the online questionnaire reveal about people's willingness to pay for music?

    -The online questionnaire analyzed 1285 responses and found the average amount that respondents were willing to pay for a music service, album, or concert was less than expected, indicating a general undervaluation of music.

  • How does the speaker feel about the current state of music distribution and opportunities?

    -The speaker believes that there are more distribution channels and opportunities than ever before, but there is a misconception that musicians are making more money than they actually are.

  • What is the average amount people are willing to pay for music according to the survey?

    -The exact average amount is not specified in the script, but it is mentioned that it is less than anticipated, suggesting a general undervaluation of music by consumers.

  • How does the speaker view the impact of streaming on the music industry?

    -The speaker acknowledges that streaming has become the primary source of revenue for musicians, but also points out the challenges, such as the need to generate a large number of streams to make a significant income.

  • What is the speaker's opinion on the role of culture and art in society?

    -The speaker emphasizes the importance of recognizing the value of culture and art in society, suggesting that without this recognition, the entire cultural ecosystem could collapse.

  • How does the speaker describe the financial challenges of producing music?

    -The speaker describes the significant costs involved in producing music, including studio time, engineers, musicians, and album artwork, which can be financially demanding for artists.

  • What is the significance of the speaker's mention of a song with a million streams and the revenue it generated?

    -The mention of a song with a million streams generating 1000 euros highlights the potential revenue that can be earned through streaming, but also the disparity in earnings compared to physical album sales.

  • How does the speaker view the role of live performances in a musician's income?

    -The speaker views live performances as a significant source of income for musicians, especially after a successful tour, but also acknowledges the financial risks and investments involved in organizing such events.

  • What is the speaker's perspective on the importance of government and societal support for culture?

    -The speaker believes that government and societal support for culture is crucial, as it enables artists to pursue their ambitions and maintain a sustainable income, which in turn supports the broader cultural ecosystem.

  • How does the speaker describe the financial situation of musicians after years of work?

    -The speaker describes a situation where, after years of work, musicians are finally able to pay their rent and have a decent salary, but there is still a struggle to maintain financial stability in the industry.

Outlines

00:00

🎵 The Undervaluation of Music and Its Impact on Artists 🎵

The speaker discusses the common misconception that music is easily produced and not valued properly. They mention a survey conducted among 1285 respondents to understand how much people are willing to pay for music services, albums, or concerts, revealing an average willingness to pay less than expected. The speaker also touches on the paradox of having more distribution channels and opportunities yet feeling undersupported financially. They highlight the challenges of making a living from music, the cost of producing music, and the struggle to convince people to pay for music when free alternatives are abundant. The speaker advocates for tiered consumption levels, suggesting that heavy music consumers should be willing to pay more. They also share personal experiences, such as the revenue generated from streaming compared to physical album sales and the importance of understanding the financial implications of pursuing a career in music.

05:02

🎟️ The Financial Reality of Producing and Touring in the Music Industry 🎟️

In this paragraph, the focus shifts to the financial challenges of producing music and touring. The speaker talks about the high costs of production, including studio time, engineers, and musicians, and the significant investment required for an album. They mention a specific project that cost nearly $120 to produce and the increasing expenses for their second album. The speaker also discusses the costs associated with touring, such as ticket prices, stage design, lighting, and paying the crew. They emphasize the importance of creativity and innovation in the face of financial constraints and the role of subsidies in supporting their ambitions. The speaker reflects on the social value of culture and the need for society and government to invest in it. They conclude by sharing their personal financial situation, the stability of income from touring, and the hope for a sustainable future in the music industry.

Mindmap

Keywords

💡Music Value

Music Value refers to the perceived worth or importance of music, both culturally and economically. In the video's context, it discusses how society may not assign the appropriate value to music, often underestimating the effort and cost involved in its creation. The script mentions that people think musicians make more money than they actually do, highlighting a disconnect between the perceived and actual value of music.

💡Music Distribution Channels

Music Distribution Channels are the various platforms and methods through which music is made available to the public. The script talks about having 'plusieurs canaux de diffusion que jamais' (more distribution channels than ever), indicating the broadened reach of music due to digital platforms and streaming services, which has changed the landscape of how music is consumed and monetized.

💡Music Monetization

Music Monetization is the process of generating revenue from music. The video discusses the challenges of monetizing music in the digital age, with references to how much people are willing to pay for music services, albums, or concerts. It also contrasts the traditional sales of physical albums with the modern streaming model, illustrating the shift in how artists earn income from their work.

💡Streaming

Streaming is a method of music consumption where listeners access music online without downloading it. The script mentions 'le streaming' as the primary source of revenue for artists, emphasizing the importance of streaming platforms in the current music industry. It also discusses the potential earnings from streams, such as generating millions of streams leading to significant revenue.

💡Music Production Costs

Music Production Costs encompass all the expenses involved in creating a music album, including studio time, engineers, musicians, and graphic design. The video script talks about the high costs of producing an album, such as 'payer le studio les ingénieurs les musiciens,' and how these costs can be a barrier for artists, especially when they need to finance their projects themselves.

💡Cultural Value

Cultural Value refers to the significance and worth that society places on cultural expressions, such as music. The script touches on the importance of recognizing the cultural value of music and how it is essential for receiving support, such as subsidies, which help artists continue their work. It also implies that without societal and governmental recognition of this value, the cultural ecosystem may suffer.

💡Subsidies

Subsidies are financial assistance provided by the government or other organizations to support certain sectors, such as the arts. In the script, subsidies are mentioned as a crucial form of support for artists, helping to cover production costs and enabling them to think bigger and compete with international acts.

💡Live Performances

Live Performances are concerts or shows where music is performed in front of an audience. The video discusses the revenue generated from live shows, indicating that they are a significant source of income for artists. It also mentions the costs associated with live performances, such as paying musicians and technicians, and how these shows contribute to an artist's financial stability.

💡Music Industry

The Music Industry encompasses the businesses involved in the production, distribution, and sale of music. The script reflects on the changes within the industry, such as the shift from physical album sales to streaming, and the challenges artists face in adapting to these changes to generate income and maintain a career in music.

💡Consumer Behavior

Consumer Behavior refers to how individuals make decisions about the consumption of goods and services, including music. The video script suggests that people's willingness to pay for music has changed, with a focus on the results of a survey asking about payment for music services. It implies that consumer behavior has a direct impact on the financial viability of creating and distributing music.

💡Artistic Ambitions

Artistic Ambitions are the creative goals and aspirations of artists. The script talks about how artists have ambitions for their work, such as producing high-quality albums and staging elaborate live performances. It also discusses the financial implications of these ambitions, such as the costs of production and the need for creative solutions to achieve them within budget constraints.

Highlights

People often undervalue music, thinking it's easily created, like playing a guitar around a campfire.

There's a misconception that musicians make more money and have more support than they actually do.

Despite having more distribution channels and opportunities, musicians still face challenges in monetizing their work.

A survey of 1285 respondents revealed the average amount they're willing to pay for music-related services.

Many people are not accustomed to paying for music, questioning why they should when it's available for free.

The speaker suggests that people should have different consumption tiers based on their usage.

For heavy music consumers, a higher monthly subscription fee might be justified.

Streaming has become the primary source of revenue for musicians, surpassing physical album sales.

An artist shared that a song with a million streams only generated 1000 euros, indicating low earnings from streaming.

The industry has adapted to the shift from physical sales to streaming, but it's not as profitable.

Subsidies have played a crucial role in supporting artists financially, allowing them to pursue their creative ambitions.

The value society places on culture is essential for the sustainability of the arts and should be recognized and invested in.

The speaker emphasizes the importance of government and societal support for culture to ensure its survival.

Investing in culture is not just the government's responsibility but a collective societal effort.

The speaker reflects on the financial struggles of being a musician and the challenges of making a stable income.

Musicians often have to balance creative ambitions with the financial realities of producing and promoting their work.

The cost of producing an album can be high, and artists need to weigh the expenses against potential earnings.

Live performances and tours are a significant source of income for musicians, but they come with their own set of financial risks.

The speaker discusses the financial planning and saving necessary for musicians to sustain their careers.

The transcript highlights the complex relationship between art, commerce, and the value society places on music and culture.

Transcripts

play00:00

on n'accorde pas la juste valeur à la

play00:01

musique on pense soit que ça c'est

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facilement

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c'est en grattant une guitare autour de

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feux de camp c'est quelque chose

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justement qui est taboue les gens

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parlent pas puis j'ai l'impression que

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les gens pensent qu'on fait beaucoup

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plus d'argent que ce qu'on fait je pense

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qu'on a plus de support que jamais on a

play00:16

plusieurs canaux de diffusion que jamais

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on a plus d'opportunités que jamais

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[Musique]

play00:28

combien êtes vous prêts à payer pour de

play00:30

la musique c'est ce qu'on a demandé à

play00:31

notre communauté dans un questionnaire

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en ligne

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on a analysé 1285 répondent on a

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présenté à des artistes wade membres de

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leur équipe

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la moyenne de ce que les répondants sont

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prêts à débourser pour un service des

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côtes un album ou encore un spectacle

play00:45

[Musique]

play00:53

c'est moins c - qu'est-ce qui pour vrai

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7 et 66 d'ici là je vais parler plus en

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tant que consommateur la musique que

play01:00

producteur aux gens de nous permettre

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d'avoir accès à tout ce bassin créatif

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cette création locale

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mais c'était tellement d'efforts et

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d'argent l'investissement pour 8,99

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verizon pour moi c'est une phase nous

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ont été élevés avec gens là on me dit

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très tard dans ma vie que cette fois

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correct de mes disques ramifications

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importantes les parce que justement les

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gens se disent pourquoi je paierais

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cancel vers le brûle gratuite papillon

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ce que je dis en fait on le fait en

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gentiement des séries je pense qu'on a

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mal habitué les gens je pense qu'ils

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devraient avoir des paliers de

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consommation donc si quelqu'un est prêt

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à payer seulement 8 99 à moi mais ce pas

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une personne qui consomme beaucoup

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musique

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peut-être que sur 8 99 pour lui donner

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droit je suis pas moi 15h02 des côtes

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par mois 12 mois quand on est dans la

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vanne qui j'en écoute de la musique puis

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que j'ai atteint mon top de data pour le

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mois je laissais sûr que je me rajoute

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d'atteindre chiasse le guide

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parce que je vais pas arrêter d'écouter

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de la musique c'est quand même drôle que

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je le donne à ma compagne étaient les

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fanboys quand même si son qui si on

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voulait traduire exactement les revenus

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que faisait la vente de 250 mille albums

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physiques un streaming

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aujourd'hui si tu vois cette équation là

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comme ça où on est et du sud fait pas

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autant d'argent mais je dois le 30 fois

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ci profitent de cette façon le psy pas

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comme ça que ça marche si l'industrie a

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pu modifier assez modifie t lord a

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généré 45 millions stream

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je fais juste ça me chagrine soit le

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porte c'est des peanuts pour qu'ils

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commencent à générer des millions de

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screens des dizaines de millions de

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screens cdc des revenus nous n'acceptons

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pas ce que ça s'use aujourd'hui non 1

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non il ya eu 25 mille échos écoute de

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nos chansons de plus en plus sur

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plusieurs de nos projets notre numéro un

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c'est le streaming

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j'ai fait une chanson avec un ami on

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avait un million d' écoute sur la

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chanson après six mois il m'a envoyé

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envoyé 1000 euros donc là c'est très

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très très particulier parce que c'est

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finalement comme ce qui se fait

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découvrir en france quand on a sorti son

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premier single 56k ça nous a permis de

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récupérer la france la suisse la

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belgique et durable à l'avenir un conte

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traduisent par 50 dates en 2018 ont été

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surpris d'abord une tournée aux états

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unis qui avaient déjà un local puis la

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majorité des gens qui venaient nous voir

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nous disait juste découvert parce que

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telle chanson a été mis dans une pile et

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si nous découvrir l'espace comparé à

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gauche ce côté de revenus directs de

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l'album on le récupère on fait peut-être

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même davantage écoutés spectacle ensuite

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bon découle le match et tout le tralala

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[Musique]

play03:55

si c'est vrai c'est vrai on prend des

play04:02

notes album c'est justement pendant ce

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temps là de nous on c'est nous qui

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prenons le risque sont même pas eu

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d'accord là-dessus d'économie on a fait

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sont tournées précédentes puis que ça

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marche pas puis sa flotte c'est tout le

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temps où on est on est allé créer on a

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dans les chalets c'est des choses qu'on

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apprend cependant fignon se passe dans

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notre corps que dans le cas de safia

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celle qui paie les frais de production

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l'album dont payer le studio les

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ingénieurs les musiciens il ya aussi au

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niveau de la fabrication par le front de

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gauche est donc les graphismes du design

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qui toute l'équipe autour de sexe

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travail évidemment pour mettre en place

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l'album comme l'a dit un peu

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exceptionnel dans les peuples puis là je

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vais parler du deuxième thon sur lequel

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on travaille actuellement

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c'est à l'homme qui vont frôler le 120

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dollars à produire on se paye on se paye

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la cadillac du mixeur et on va dépenser

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beaucoup plus sur le 2ème qu'on avait su

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premier qui évidemment ça ça coûte cher

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et c'est pas un problème parce que le

play05:02

projet fonctionne

play05:03

[Musique]

play05:11

les gens sont prêt à tailler une très

play05:15

bonne nouvelle

play05:16

si on veut avoir le moins nos ambitions

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il faut dire les billetteries qui vont

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au dessus de 1,25 dollar qui est pas mal

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habituel surtout dans notre créneau avec

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des prix billets comme ça ça nous force

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à rester dans un moule puis ne pas être

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capable vraiment d'en sortir à moins de

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faire preuve d'une créativité hors norme

play05:31

petit chrono là je pense qu'on commence

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à avoir les moyens de nos ambitions

play05:37

2600 $ à produire je respecte et on y

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lit tout justement le thème le décor qui

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a été fait

play05:45

[Musique]

play05:48

de là à

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pour cette tournée l'heure dans le cas

play05:54

d'affaires on on a investi beaucoup plus

play05:57

en plus preuve qu'on appelle pour monter

play06:00

un jour avec des décors avec un

play06:01

éclairage mise en scène l'initié faut

play06:05

payer les musiciens les techniciens et

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par les environs de 30 à 40 milles de

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leur spectacle par spectacle à la pièce

play06:13

ont réussi à dégager en temps normal

play06:16

c'est la vente de biabiany this to b

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n'était en profits raisonnables mais qui

play06:21

devient intéressant au bout d'une

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tournée de plusieurs spectacles d'oxford

play06:26

qui veulent à coacher ça que tellement

play06:28

charte ne fait pas d'argent en fait si

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longtemps par accident que si tu es

play06:31

quelqu'un qui tourne avec un poste si

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gros des cornes pas si grosse équipe au

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québec puis crée des bonnes salles

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l'agencé se les payer 300 pièces par

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choix puis sept ans en fait deux chaud

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trop chaud par semaine m'étais je dit

play06:45

c'est ça qui partirait du spectacle

play06:47

c'est que nous c'est notre revenu stable

play06:49

mais avantage mais à un moment donné il

play06:52

s'est en fait vraiment plus des shows

play06:54

quand rien n'est terminé fac-ci ce

play06:55

moment là où tu es comme et j'espère que

play06:57

l'argent de tuning puis il va rentrer

play06:59

bientôt

play07:01

[Musique]

play07:03

aussi la valeur sociale que les gens à

play07:07

coeur d'arras à la culture qui est

play07:09

important de conserver dans son ski est

play07:11

quelque chose qu'on ne peut parler

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jusqu'à maintenant mais les subventions

play07:13

nous a aidé énormément sur 250 $ que je

play07:16

vais dépenser à l'année il ya 125

play07:18

dollars qui va être couvert par

play07:21

discrétion ça nous permet de penser à un

play07:24

peu plus grand puis essayer de

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compétitionner avec ce qui vient

play07:25

d'ailleurs si on est passé ce bleu d'un

play07:27

genou et qu'on sortira du canada est il

play07:29

possible genre en ferait une tournée

play07:31

dans des conditions terribles parce

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qu'on avait pas d'argent tu es

play07:35

subventions le viennent aussi de la

play07:37

valeur que les gens accordent à la

play07:38

culture puis ce c'est extrêmement

play07:41

important parce qu'à partir du moment où

play07:43

la société considère peut que la culture

play07:45

une valeur école d'art pas que le

play07:48

gouvernement devrait investir là dedans

play07:50

puis le tout la chaîne s'écroule moi

play07:52

tout l'argent que je fais en ce moment

play07:53

je le mets de côté parce que bientôt

play07:55

notre tournée va se terminer

play07:57

je sais pas qu'est ce qui va arriver

play07:58

cette année c'est la première année

play08:00

après cinq ans qu'on réussit à payer

play08:03

notre loyer puis que c'est correct on a

play08:07

un salaire correct mais tu es si on est

play08:11

en voie de 50000 le béton on pense pas à

play08:14

tout le processus pour arriver à la

play08:16

musique binou cdc des gens qu'on engage

play08:18

titres cédés des emplois concret c'est

play08:21

des gens qu'on paye c'est de l'argent

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c'est énormément d'argent qu'on est

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juste mais ça quand tu écoutes la

play08:26

chanson swing pense pas à ça c'est

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normal

play08:29

[Musique]

play08:30

oui en fait pour bella

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en faisant de la musique ces carnassiers

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l'art du madih la première chose qui m'a

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dit du boulot la chose la plus

play08:41

importante si des chansons

play08:47

[Musique]

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Related Tags
Music ValueArtist StrugglesStreaming RevenueCultural ImpactMusic IndustryConsumer BehaviorCreative ProcessLive PerformanceFunding SupportArtistic Expression