Recently, I got permission for a friend to videotape a private event in exchange for the use of whatever footage I appeared in. A simple arrangement which I didn’t think required a contract…I was wrong!

A few days after the event was over and I asked my former friend for a copy of my appearances he denied that we ever had such an agreement, and turned vicious when I insisted that we did.

Won’t he be surprised when the organizers of the event won’t give him permission to use any footage he shot! Do I feel bad about it, hell no, he deserves everything he gets, after all, assholes never take a day off.

It’s been about ten days since I started calling a large publisher whose recent royalty statements to me have been questionable. So far they haven’t gotten back to me, but each time I call them I record myself leaving my number…and a longer…nastier message each time.If I don’t hear from them by the end of next week, I’ll post all the messages up on YouTube and see how fast they respond!

I can’t wait until the LIVE CHARLIE SHEEN RANT AND RAVE TOUR comes to my town and exposes those “Assholes” he used to work for and prove without a shadow of a doubt that A@#HOLES NEVER TAKE A DAY OFF!

Copyright 2011 by Artie Wayne


As a former executive of Warner Brothers Music and Irving/Almo (Rondor) Music I don’t think it’s wrong for me to expect a little respect. When I contacted Bourne Music, the publisher of my first hit, “Midnight Mary” (Raleigh/ Wayne) for a scan of a lead sheet to give to a film music supervisor friend of mine, I was insulted, treated rudely…and three days later still haven’t received it!

Considering that I produced the hit record on the song with Joey Powers in 1963, and have gotten all of the income producing cover records since, Bourne Music should be grateful that anyone is promoting one of their copyrights in 2010.

After the deaths of my friends, Bonnie and BeBe Bourne, the company seems to have become a holding company of little more than caretakers…who aren’t taking care of business.

I wonder how many money making opportunities they’ve lost from the arrogance of some low level employee who treats a lead sheet like it was the Holy Grail.


When I posted an obituary on a Rock star friend of mine, which mentioned that I worked with him in the studio, one of the producers (a former friend and client of mine) called me a liar and put up several nasty comments about me below my article.

Fortunately, I contacted his co-producer, one of the biggest figures in the music business today, who made several comments himself which corroborated my story and made my detractor look like the asshole that he is.


Finally, I want to give a one finger salute to a talented young director who I worked with a few years ago, who I helped create a video that currently has over 700,000 views on YouTube.

Happy with his work, I paid this guy up front to record an interview I was doing with my friend, and legendary producer Hank Medress (Tony Orlando and Dawn, The Chiffons) for Spectropop. This guy stood me up for at the last minute without explanation or returning my money. Sadly, Hank died a few weeks later without what turned out to be his last interview being recorded for posterity.

Even though this guy showed no remorse or offered any apology, I chalked it up to his youth and inexperience and forgave him. Then about a year later, I foolishly paid him up front to correct the grammar and edit the book I was writing. I shouldn’t have been shocked when he flaked on me once again and never returned my money.

Last week a record producer friend of mine called me, and wanted to reach this guy to do a video for him. Needless to say, when I told him what he did to me, my friend wanted nothing to do with him.

I’m happy to say that I’ve warned other people about him, who’ve asked for a recommendation, which has lost him thousands of dollars in work!


I’m not usually a vengeful person, but I’m fortunate to have a blog, with over one million seven hundred thousand hits, to bring to light the bulls#@t  I’ve had to deal with.

If you think I’m being too harsh…remember A#@HOLES NEVER TAKE A DAY OFF!

Copyright 2010 by Artie Wayne

For my first article in this series A#@HOLES NEVER TAKE A DAY OFF! click on to

For the last Hank Medress Interview on Spectropop

For the complete story behind “Midnight Mary”

Back in the ‘60s, a songwriter and a publisher were supposed to split two cents for every record sold. When the infamous but charming, Morris Levy (Roulette records) asked  for a “special rate” of one-half cent per song on my Shadow Mann album, I laughed and said, “Sure, why not? You’re not going to pay us anyway!”

Today writers and publishers divide upwards of eight cents for every unit sold and sometimes share hundreds of thousands of dollars that come for licensing fees from films, TV, and commercials.

Since I resumed writing and as well as pushing other people’s songs using the Internet, dozens of people I know from back in the day have been in touch with me to breath new life into their catalog and get new recordings on their songs. Unfortunately, many of these people are nefarious characters and are notorious for screwing anyone they can, and I’d be stupid to do any business with any of them. Needless to say I’m also wary of anyone I’ve never dealt with before, so I make sure I get a fee up front against a percentage of whatever income I’m able to generate, but even so I get taken in at times.

A top writer from the ‘60s, I knew casually, asked me to get a former number one song of his to Miley Cyrus, which I did foolishly, before I had an agreement with him. I stopped trying to deal with him when he became evasive. I never told him that I had played it already for one of Miley’s producers who flipped out over his song. I also never told him that I lied to the producer and told him Carrie Underwood had just cut the song, which of course stopped Miley from recording it!

A few days ago, I got a call from one of the owners (whom I’ve never met) of a publishing company I once was signed to. He wanted me to share my intimate knowledge of his catalog, and asked if I wanted to show some of his copyrights. He said was willing to give me a percentage, but not pay me a fee which…of course I wasn’t interested in.

When he mentioned, however, that he was considering selling his publishing company for $300,000 (10 times recent earnings) my eyes lit up and off the top of my head I came up with a unique idea to sell his company for a million dollars instead, in a way that’s never been done before…an innovation sure to make the front page of Billboard Magazine!

He thought it was a great idea and asked me to draw him up a proposal. He only had two songs that were bringing any income in the catalog, and I knew I could get hit covers on them as well as about 15 other “undiscovered” gems, but I played it cool as he was trying to pick my brain. In my head I was casting his songs with artists I could get to…Beyonce…Adam Lambert…Alicia Keyes…etc. knowing that I could significantly increase the value of his underexploited catalog. Before I talked with him initially, I checked his two biggest titles on “Google”, and found a John Mayer performance video of one of his songs…which he didn’t know about. He didn’t even know who John Mayer was…but that’s why you hire someone like me.

I wonder why this guy hasn’t responded to my phone calls or e-mail, but if he’s thinking of “appropriating” my idea, he should be aware that he needs someone like me with the expertise to pull it off, as well as means to publicize the sale (like my blog with over 1,450,000 hits).  He probably doesn’t know I’ll get a “Google Alert” the minute my idea goes up on the Internet, and I’ll jump in 30 minutes later offering one of my clients catalogs, and crush him in the marketplace..

Last week was my birthday, I was 39 for the 29th time, and I’m working harder than ever before. I’m still recovering from contacting every Michael Jackson fan club in the world to alert their members to my song “Little Christmas Tree”, which led to 110,000 views on YouTube during Christmas week. I’m also developing a few ideas for Tommy James (“I Think We’re Alone Now”, “Crimson and Clover”) who has a book coming out Feb.16 called “Me, The Mob, and The Music”. I hope he doesn’t go into some witness protection program before I have a chance to interview him!

Alan O’Day (Undercover Angel”, “Angie Baby”), DJ Paul Payton, and I are finishing up some demos to pitch to classic hits stations which could liven up their formats and attract new listeners. Finally I’m in the editing stages of my book, “I Did It For A Song”.

Of all the things I’m doing, however, I’ m most excited about reconnecting with hundreds of old friends on Facebook, Twitter, my blog, Forgotten Hits, and Spectropop, and helping them reconnect with each other. I just wish those who try to con me into doing one thing or another for free would stop…but I suppose a#@holes never take a day off!

Copyright 2010 by Artie Wayne

Photo at top by Stephen Paley left to right- Artie Wayne as Shadow Mann, Producer Ron Haffkine, Kelli Ross, and Morris Levy


bela-lugosi-dracula-stampOn Thursday I happily reported that BMI was no longer withholding royalties from song writers…today I find out it isn’t true and BMI still sucks! Since I posted the blog I’ve had a dozen e-mails which basically say the same thing…

“Please note that BMI did not change their policy. The September quarter will always bring a check. They will not pay through the other three quarters unless you earn $250. Nothing has changed.”

Now that I have confirmed it, I must admit publicly that I was naïve and overly optimistic in believing that BMI really had reversed their insidious practice.

I’ve been with BMI for almost half-a-century as a writer, a friend of the organization for 30 years when was GPM of Warner Brothers music, and CEO of Irving-Almo music. And when I opened my own publishing company, my late Friend, Ron Anton a senior V.P. at BMI, named it…WayneArt Music.

I know that loyalty has become a thing of the past in today’s modern world, but I still believe in it. I no longer, however, have a loyalty to a faceless corporation who’s leaders have changed a dozen times since I joined, that seem to have little concern for it’s members..

I’ve steered hundreds and hundreds of writers to BMI because I thought it was the best of the performance societies. Now that my longtime friend, songwriter Paul Williams, has become the President of ASCAP, I want to see if that’s the performance society where I want to be from now on.

It’s funny, how quickly I’ve jumped back into the game, My catalog has been largely inactive and I don’t write much anymore, but six weeks ago I found out I had four tracks that I co-wrote for Michael Jackson, on three re-releases, which has given me a new lease on life!

I don’t plan to stop fighting until BMI really changes its policy about withholding songwriter’s royalties.  You can join the protest by e-mailing the CEO of BMI, Del Bryant Just put “BMI STILL SUCKS” on the subject line.

Regretfully, Artie Wayne

To read the previous articles I’ve written about BMI also you can check out. and also