If movies were this good, I’d go every day.

We were planning to go to the Reagan Library. I took my mom to lunch at an Indian restaurant in the West Valley. She’s here for the Jewish holidays. My sister recommended a place with a patio, but I can’t sit in the sun, the pill I take makes me super-sensitive. You know how the pharmacist always warns you? Well, with Gleevec it’s real, I’ve got the sunburn to show for it. My beach days are through. So, I Googled, and L.A. Eater said to go Anarbagh, it was listed first. Now there’s nothing like Indian from a dive in London, and I can’t say today’s dishes were as good, but like Joey Ramone, I like a good vindaloo, and it hit the spot.

So, with the rest of the afternoon to kill I suggested we visit the Reagan Library, in Simi Valley, a mere half hour away, my mother was not a fan of the man but she loves a good museum and I called and they were open and had wheelchairs and after a preparatory pee I realized…

We couldn’t do it. I couldn’t push the wheelchair. Because of my shoulder surgery.

So we decided to go to the movies. My mother goes every Friday night. Recently, she’s seen dogs. But she grew up going to the flicks and she can’t break the habit. I told her about “Narcos,” other stuff you can stream, but she’s got to see it on the big screen.

I figured we’d go see “The Girl On The Train.” But she already knew it had gotten bad reviews. I checked it on the Tomatometer, she was right, it was under 50%. And I suggested “Birth Of A Nation” but time was tight and then I saw…

“A Man Called Ove.” Which had an 88% rating, and few things break 90 on Rottentomatoes.com.

Amy recommended the book. She’s a social worker at UCLA Hospital. She’s the most compassionate person I know. But the story didn’t quite resonate, maybe it was the translation, it seemed a bit too one note, a sour man gets redeemed.

But the film was better than the book. This is only the second time I’ve ever experienced this, the first was with “Wonder Boys.”

So we drove to the Laemmle Town Center.

It’s where the old Jews go. The stooped, the infirm, they’re keeping the foreign movies alive. It was an endless parade of the less than functional, interspersed with Valleyites walking by while we waited for the film to begin. We had an hour to kill. My mother caught me up with her circle. That’s what Jews do, tell the stories of people. This one who made the bad choice, that one who’s in the bad marriage, it’s an endless movie not projected on screen, but based in reality. And when you get older and no one works it’s the petty that gets in your way. Is someone inviting you expecting payback? By taking up that invitation did my mother get herself into a quagmire, will she have to include this woman forevermore?

And it’s a game of musical chairs. Everybody keeps dying. There are only a few left. My mom is gonna be ninety in December. A hard number to fathom, but it will be crushing when she’s gone. For us. She’s ready to go, she keeps saying that people live too long.

So we rode the handicapped elevator down to the main floor. Shuffled into the theatre and were confronted with trailers that were actually interesting. An Israeli movie about finding an old love, I wanted to see it.

And I didn’t really want to see “Ove.” I had a bad experience with “Indignation,” I read the book right before, my expectations were too high, they left the climactic snow scene out.

I go for plot, for story, and if I know it already…

But “A Man Called Ove” was different.

First and foremost, it was a film.

I live in Los Angeles. It’s sunny nearly every day. And I’m not complaining, but I miss the mist and the fog and the snow, they breed character.

And Ove is like me. This I remember from the book. WHY CAN’T PEOPLE OBEY THE RULES! Ove is bothered when bikes are left out, when cars go down pedestrian avenues. I’m bothered when you try to sneak into line, when you toss your garbage from your automobile. I don’t know why I’m this way. Bending rules is so difficult for me. Which is probably why I’d make a bad entrepreneur, because sometimes they don’t even know where the line is!

And in the book, they paint a better picture of Ove’s upbringing, where he’s coming from.

But in the film there’s a better depiction of his marriage.

Bottom line, Ove gets laid off and he doesn’t know what to do with himself. His wife has died and he decides to join her. But he keeps getting interrupted.

Everybody’s so busy getting rich and famous. Sure, social media is communication, but there’s a level of boasting underneath. It’s a giant pecking order and you’re valued by your followers and your likes and everybody can see. Life is no longer for the living, it’s about quantification.

But if you’re an oldster in Sweden…

America has devolved into the land of comic book movies.

But overseas, they’re still telling stories about life.

“A Man Called Ove” is sad, but it’s funny, just like life. If you’re not laughing at a funeral… Or, as Joni Mitchell sang, “Laughing and crying, you know it’s the same release.”

What makes life worth living?

To what degree are we our neighbors’ keepers?

Is what we base our judgment and friendship upon valid? If you drive a Volvo instead of a Saab, Ove is going to have a hard time being your friend. If you drive a BMW, forget about it.

Sure, it’s easier to watch at home. But going to the theatre… You’ve got to make the effort, the room is dark, and when done right film takes you away and informs you about real life.

“A Man Called Ove” did this.

It’s not perfect, but it’ll get you thinking… What is life about? Are  you just a rat in cage? Are you so set in your ways you can’t get out of your own way?

And some of us are burdened with tragedies through no fault of our own.

But we must soldier on.

Ove learns it’s worth soldiering on.

He not busy being born is busy dying.

Bob Dylan wrote that. It’s a line from “It’s Alright, Ma (I’m Only Bleeding,” a track on the 1965 album “Bringing It All Back Home.” That’s right, while you were listening to Herman’s Hermits Bob Dylan was revolutionizing songwriting. By the end of the year he triumphed with “Like A Rolling Stone,” which not only contained its sneering lyrics and Al Kooper’s organ, but lasted over six minutes when AM radio ditties rarely broke three.

Bob Dylan was a revolutionary, breaking convention. One of the best and the brightest, he’d been inspired by folk music and twisted the past into something brand new. He had something to say, and refused to be embalmed, living in the past. Pete Seeger’s heyday was already behind him. Dylan went electric and went worldwide.

Twitter became moribund. It captured the zeitgeist and refused to innovate. Kind of like all those bands the Beatles and Dylan pushed off the pop chart. There was something there, but the old acts did not know how to reconstitute the elements to move forward. Tech is all about pushing forward, it’s what have you done for me lately. How did music become just the opposite?

Marc Benioff wants Twitter for the data, and the customer service opportunities. Kind of like a wizard A&R guy he wants to strip what doesn’t work and emphasize that which does. Meanwhile, the underpinnings are the essence. The treasure trove of information generated each and every day.

Music services generate said info. And insiders use it more and more. But still not enough. Meanwhile, users are basking in the glory of Spotify’s “Discover Weekly,” “Release Radar” and “Daily Mix,” all data-generated, all filling needs we did not know we had. You’ve got to hit ’em with the Hein, fast and furious, when they least expect it. That was Steve Jobs’s magic, he got you to buy that which you could not previously conceive, and kept upping the ante with new software products, most of which were free, from iTunes to iPhoto to…

We’ve had two great upheavals in the music business. One was classic rock and the other was MTV. Both drew out not only fans, but creators. But somehow the business has become calcified, protecting what once was as opposed to what could be.

Artists can’t stop bitching their cheese has been moved. If they were Oracle, they’d get Salesforce shut down. Yes, Marc Benioff runs Salesforce. His revelation was to put software online, in the cloud, as opposed to the old model of having servers inside the building. This is no different from the move from physical to streaming. Someone comes up with a new, more efficient way of distribution and…the smart money goes along with it, the dumb money stays behind.

But the dumb money rules the music business. Which believes change is anathema. The great crunch came and the record labels cut back. Instead of releasing more material, experimenting, because costs were so low, they got safe, they put out very little and it sounds just like what came before. Just try selling a non-friendly radio act to a record label, can’t be done, unless it comes with an already established fanbase.

Jack Dorsey was married to the past, no one could mess with his baby. Which is why old acts are superseded by new ones. You need a clean sheet of paper, you must see things differently. Like any act without hits the buzz on Twitter faded, and now it’s for sale.

Now there’s a roll-up factor here. That which seemed independent is oftentimes better as part of a conglomerate, where synergy can transpire. Spotify should not be an indie company. Not because it can’t make money, but because it can’t monetize its data as well as a bigger entity could.

And Pandora has hit a wall.

And iHeart is just catching up.

And Apple Music keeps having its lunch eaten. While it’s fixing its interface, Spotify is running circles around it with its utilization of data. Apple believes the big kahuna never fails, because of scale, but that’s not the story of Silicon Valley.

So what’s a poor boy to do?

No one at a label will take a risk, because no one has any ownership, they’re all employees who are afraid of losing their jobs. This is not Herb and Jerry allowing the fields to go fallow so they can reap huge rewards in the future.

And the best and the brightest see little opportunity. Who wants a job with no upward mobility where you can’t make that much money? And the acts provide no counsel. They’re all brands looking to sell out to corporations. That only appeals to the have-nots.

But there is a revolution happening in music. It’s the top list.

Radio is dying. Please embrace this truth, it’s the only way forward. Forget the disinformation campaign of the usual players. Stations want to make money and labels like the control. But online, on the Spotify chart, anything can happen.

And “Billboard” can’t even codify it. Because it’s still counting sales and saying one track streamed a number of times is an album, huh? Tech is about wiping the slate clean, and music is tech, never forget it, move into the future.

Radio hits are built more slowly than ever before. Unless you’re a superstar, it could take a year or more to break through.

But not on Spotify.

And it’s only about Spotify, because Spotify has by far the most market share and so much of its data is public. You can see what people are playing and how much a hit is streamed, EVERYBODY CAN SEE THIS! What I want from Apple Music is not exclusives, but data, what is happening behind the curtain? But the company has always been secretive and Jimmy Iovine likes to work behind the scenes and it’s a bad fit for the present and future.

It was not uncommon for a fan to own Yes, Ry Cooder, Little Feat and Doobie Brothers albums back in the early seventies. Along with Linda Ronstadt and James Taylor. These acts sounded nothing alike, what drew people to them was their refusal to play it safe, they were all testing limits all the time. It was new and exciting, everybody was a music fan.

Those days need to come back.

It starts with the music.

Sure, fresh-faced kids propped up by old pros have a spot in the marketplace. This has always been the case. Can you say “New Kids On The Block”?

But now even the Weeknd, our most vaunted act, collaborates with Max Martin. And that’s just sad.

You’ve got to pay your dues. And not complain. And your way out is through art. And now, more than ever, the competition is fierce. You’re not only competing against more product, you’re competing against the history of recorded music, at everyone’s fingertips, for free!

If you’ve got a bad voice you must be an incredible lyricist.

Or get out of the way. We don’t need you. You can make your music, but don’t expect to become rich and famous, you’re cluttering the channel, you’re a Zune in the era of iPods.

And we’re looking for breakthroughs. A few brave souls who are willing to take the untrodden path, inspired by what once was into making something brand new.

And we need the labels to market it, to take risk, it’s their only way forward. They’ve utilized their catalogs to prevail in the present, but that won’t carry them into the future.

And it starts with recordings. Promoters can tap demand, but they don’t build it, unless you’re a phenomenal performer, and that’s rare at the outset.

We need to pull the entire populace along with us. And we’ll do this by throwing the old rulebook out and taking risks, which has become anathema to the entire industry.

We used to have a new sound every three years, wiping out the old. Grunge eviscerated hair bands. But for the last fifteen years it’s essentially been the same thing. Wouldn’t you get bored eating the same lunch for a decade and a half?

But the insiders can’t see it. They live for music, they believe they’re entitled.

Which is why disruption always comes from outside.

I want further disruption. Spotify is a good thing, it creates new opportunities. And if you don’t believe this…

You’re part of the problem, not part of the solution.

My father taught me to be skeptical.

Middlebury taught me how to interact with the rich.

And seemingly every day since I’ve gone to school, even if it hasn’t taken place in a classroom.

I just listened to Tom Brokaw on David Axelrod’s podcast. He was telling the story of questioning President Nixon about executive privilege. Dick’s handlers accosted him after the press conference and asked him how dare he, treat the President that way. Tom said he’d done the scholarship, had they?

Intimidation… It doesn’t only happen on the schoolyard. Bullies are everywhere. And you don’t want your mommy to complain to the principal, you have to learn how to stand up to them, they’re often paper tigers.

But I get scared.

But now I won’t be as much.

Irving Azoff taught me not to be insulted by the offer, it’s just a starting point.

Marty Albertson taught me when the economy is tanking, you go for market share. Which is why when the Dow Jones crashes the pros buy, because they know it will go back up.

They also have cash to burn. You’ve got to have cash to burn. If you’re looking after every last dollar you’re not gonna get ahead.

And although you have a responsibility to aid those less fortunate, America is a jungle where it’s every person for themselves and if you don’t learn the hard lessons you’re gonna end up on the sidelines. Those who complain they just weren’t born with the talent or the skills or the right parents are left out of the game to their detriment. Each of us has own special gifts, you too can triumph, if you continue to educate yourself.

My shrink taught me how to get along. That no one gets to be themselves 24/7, that I’m in control of my own life, I get to interact however I want to, what choices can I make that will behoove me?

And my dad taught me…

Being a member of the group is overrated.

But being a member of the group is everything.

And if that sounds contradictory, the point is you need friends to survive, but don’t jump off a bridge just because they did.

My father taught me to search for the truth. This is a skill especially helpful in Hollywood, where everybody’s full of crap, putting up a good image. If the person has no visible means of support yet drives a Mercedes… They have a rich father or are up to their neck in debt. And the media prints the legend, because oftentimes the truth is too disillusioning.

And as I get older I keep peeling back the layers of the onion. I’m constantly learning new tricks, gaining new insights.

But time is running out.

My education lags my career. If only I knew then what I know now.

Like commitment is everything in relationships. Sure, sex and attraction are important. And never rule out money, it’s the number one relationship killer. But having someone who’ll stick by you through thick and thin, that’s key.

We get dazzled by looks, we can’t see through the skin, so we oftentimes make bad choices.

And sometimes we’re so worried we’re gonna make mistakes that we make no choices at all.

Book learning is cool. You’ve got to know how to read and write, er, type. Even more important is the power of analysis. The mark of an educated man is one who can hold two competing thoughts in his brain at the same time. You’d be surprised how few can do this, it’s what separates the men from the boys, it’s what you learn at elite institutions. If you’re going to college to make money…there are easier ways.

So it’s thrilling to uncover the truth on seemingly a daily basis. To tear down icons in my mind and realize I’ve got the chops, I can play.

And then I learn something new and feel so stupid. Now I get how it works. If only I knew then…

Too many people will tell you they have the answers. You can put your faith in a guru, you can read endless self-help books. But nothing equates with personal experience. We’re all individuals and we all have lessons to impart.

You’re on your own.

But that’s the game of life.

We can all play, if we realize the adventure is about lessons. Wisdom is gained through experience. Signposts are everywhere. You’ve just got to open your mind.

And apply yourself.

My father always told me to apply myself.

It used to be about fighting piracy.

Now it’s about getting attention.

That’s the story of today, media matters, the world has flip-flopped back to the way it used to be, but it’s even worse, because there are so many messages.

In other words, publicity counts. Going viral is a near-impossibility. If you’re depending on word of mouth, count on your audience being very small. Of course, some of the best stuff breaks organically, but to go big, you need a push.

Media sways the story.

The media coronated Kanye West and the media decided Hillary Clinton won the initial debate. In both cases, there’s a solid groundswell agreeing with these proclamations, but the sheer fact of their publicity becomes reinforcing. The media said Trump lost the first debate and he immediately became defensive, making excuses.

That’s the power of the press.

Today, if someone’s pirating your music, that’s a good thing. Especially since the lion’s share of revenue does not come from recordings. Your goal is to get people to listen, if at all. Releases come and go so fast, you know something’s available but you don’t even bother to check it out, there’s already something new.

Sure, the instant release is losing its special character, it’s not the revelation it once was. But instant availability is a treasure. We live in the era of instant gratification. To promote that which we cannot consume is to leave money on the table. If you can get someone’s attention, let them click, let them experience, let them listen!

Which is why exclusives are to the detriment of artists. There’s a movie on Apple Music and the press does a story and then the rest of the world forgets about it. If you’re bothering to sell, let people partake.

But the music business has become about the short money. If you pay me now, I’ll forget about tomorrow.

But we’re not selling Wimpy Burgers.

Remember the days of leaks?

Sure, security is so much better.

But the acts are so much smaller.

With the death of MTV came the loss of ubiquity. Nobody’s that big. Sure, they might sell out a stadium, but I’d argue there are more people who haven’t heard Taylor Swift, Beyonce and Coldplay’s new work than have.

There’s a business in preaching to the converted.

But the converted die. They lose interest, they literally die. He not busy making new fans is in danger of losing his career.

So, decide if you’re shoring up your fanbase or trolling for new customers.

If you’re shoring up your fanbase, release music with no hit potential that sounds like what you’ve already done, that’s fine.

But if you’re looking for new listeners, write a hit. Don’t put out music until you’ve got one. One successful track is better than a dozen album cuts…on an album. It’s hard to get people’s attention, you can only go to the well so many times. Mixing metaphors, if you’re coming to bat, hit it out of the park!

So, if you’re a star, you’re better off with an instant release. All your publicity will be coordinated, there will be buzz, excitement for at least a week, when your record hits number one (and then, in too many cases, falls right off the chart.)

If you’re not a star…

It doesn’t matter when your album comes out. Whether there’s advance publicity or not. It’s about a story, that spreads.

But the underlying material has to support the venture.

Forget about the cycle. Whether it be once every two years or even once a year. When you ramp up your publicity for a stiff album…you alienate people, it’s hard to get them back.

So, for your core fans, constantly put out new music under the radar. See if it gains traction. If so, work it into your live set. Make it a staple. So the attendees are not subjected to unwanted stuff and forced to take a bathroom break.

But if all eyes are upon you…

You’ve got to deliver. You’ve got to have music that people want to hear more than once. With the plethora of material the bar has been raised. If your inner circle isn’t doing cartwheels, expressing hosannas, go back to the drawing board. Furthermore, you know when you do great work, it’s part of being an artist. And so much great work comes from sheer inspiration. We live in a land where too many do it too slowly. And they over-process a lame song into a turd. We’re looking for energy, passion, that ethereal sound that makes us want to listen to something again and again and again.

And with so much stuff to listen to…

It’s a privilege to get someone to check your stuff out. You may be putting out an hour long album, but you’d be stunned to find out that only your hardest core of fans listens all the way through, because you’ve let them down, in an era of plentitude, only the strong survive.

Music is a marathon. Your goal is longevity. You start with the media story, but then it’s all in your own hands.

And radio helps.

But today the playlist rules.

You need to be in the Top Lists. The Spotify chart does not lie, and that’s the only one that means anything, because it evidences listenership, sales are a false metric. You might have gotten paid, but someone might have deleted the album after hearing it once.

It’s going to get ever tighter. People only have so much time. They’re in search of the new, but they’ll discard the work of their favorites just like that if it doesn’t measure up.

So, start with a song. Release it to fanfare.

Then see if the public gets on board.

P.S. I’m waiting for the instant movie release. It’ll be a monster. A comic book flick starring Brad Pitt and Jennifer Lawrence that just shows up in the theatres on Friday. Imagine the buzz! The studios are too busy infiltrating Comic Con, laying the groundwork. If it’s all about the first weekend, why not truly make it an event!

P.P.S. The music business is far ahead of film and TV. You can get everything for one low price instantly. Which is why piracy is on the wane. Ten percent of the public will never pay, forget about them. The rest embrace convenience. And you should too, by making all your tunes available instantly on all services.

P.P.P.S. Only Luddites keep their songs off streaming services. Don’t put the money first! Most of Neil Young’s material is unavailable to stream, but the dirty little secret is it sells poorly anyway. Why not let newbies check it out? I heard “Don’t Let It Bring You Down” on Sirius today, I didn’t write about it because I couldn’t link to it on Spotify.

P.P.P.P.S. Read David Brooks’s “The Age Of Reaction”
He’s talking about politics, but his words apply to the music business. Things will only get better, we’ve endured fifteen years of chaos, but revenue is up and the tools of creation are in the hands of the proletariat and we cannot go back to what once was, we can only go forward.