2026 | Words | The Tollbooth After the Free Stream

2026 October 3

Since I moved the music, books, and images to Patreon this year, I get the occasional complaint that I’m asking people to pay.

I get why it feels like a weird ask.

Example:  Music

The normal way to hear a song changed twice. Napster, in 1999, turned recorded music into a file you took. LimeWire kept that habit going until a court shut it down in 2010. Streaming then made the legal version feel free: YouTube, Spotify, press play. After twenty years (a generation) of that, being asked to pay just to listen sounds like a tollbooth.

Those players are not free to the person who made the track. Spotify does not publish a fixed rate, but the money that comes back is often around a third of a cent a stream. Mary Spender, in her 2026 video about leaving Spotify, said streaming was under 1 percent of her income from original music, and that she had probably spent more on subscriptions than Spotify had ever paid her.

A song of mine takes weeks to write and thousands of dollars to record, mix, and master. At a third of a cent a stream, the recording cost alone needs on the order of a million and a half plays to come back, before the weeks of writing are counted.

The history explains the flinch. It’s not a bid to rewind it.

The preview stays on this site so you can hear the song the way you hear anything else. The same door applies to a book or a photograph: the preview is here; the file is on Patreon.

Membership adds the actual file, the other mixes, and the video from making it. The top tier is the conversation around that work: a vote on what gets written next, a seat at an intimate soundcheck, a role in a photoshoot, and, in 2027, a visit to the new creative space.

You’re invited to join Patreon if you want the file and what was made around it.

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