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"That should have been a business transaction.
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Her audience doesn’t want to hear about a very rich and successful artist upset that she doesn’t own her copyrights," He continues. "She’s also selling a lot of music because she’s talking about a business deal. ‘I’m Taylor Swift and I deserve my masters,’ and the media is not really covering that," Kovac's states. “Taylor Swift is very upset she doesn’t own her masters. Read More: Slipknot drop colorful, heavy-hitting “Nero Forte” music video Kovac's goes on to compare the situation to that which Taylor Swift is currently dealing with. The price they paid for the success now might seem like chump change, but it was a very real risk with a lot of money. Mötley Crüe acquired the masters of their first seven albums after their split with Elektra Records in 1997. So to me, managers and artists should move into 2020 and out of 1999, and so should record companies. “When I go to Amazon, I can see a Motley Crue book, I can see a Motley Crue documentary, I can see a Motley Crue live show, I can see the fact that they got a film, they got CDs out and they got streaming and they’re selling merchandise. “The most relevant statement is that global film, with a global internet and global streaming, is the future,” Kovacs says. Kovac's goes on to state his disapproval with the sentiment that the record and music industry as a whole is dying. It takes courage to try new things." Read More: Red Hot Chili Peppers guitarist John Frusciante rejoins band after 10 years It takes courage to give up eight-figures. “They decided they would agree with me as opposed to their lawyers and business managers and pay their former record label back $10 million of the $12 million they were owed so they can own their masters and use their masters with books, tickets and films to broaden their base globally. “When you look at Motley Crue, they’re one of a unique set of artists that own their own masters,” Kovac says. By being able to put their songs in television and film and other media, Mötley Crüe could appeal to a new generation, each generation. So why does Kovac attribute all the newfound success to Mötley Crüe owning their own music? It allowed them to capitalize on what they thought would be successful and control their destiny. Kovacs also says they saw streaming numbers increase by 350%. In a talk with Fox Business, Kovac claims that after The Dirt, they say a major shift in the age group of their fans from the 45-58 age range, all the way to 18-45 being the majority. Read More: blink-182 agency to go to court over $500k Fyre Festival fee lawsuit