The Economics of Everyday Things - 3 My Sharona

Episode Date: January 11, 2026

Can a hit single from four decades ago still pay the bills? Zachary Crockett f-f-f-finds out. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

I recently talked to a woman whose name I have heard hundreds of times at the grocery store, karaoke bars in my car. But before the world knew her name, she was just a typical teenager in the late 1970s, living it up in Los Angeles. It was a pretty carefree life in those days. We would just, you know, go to someone's house and rock out the cars, the pretenders, Plondie. Oh, yeah.

All those songs that you would just air guitar. in your bedroom. I was a 16, 17-year-old person. I was working in a clothing store, and this guy said, hey, I'm playing at SIR Studios. Do you want to come? Check me out. And so I went. I brought some friends. They were honestly really good. And then he asked to take me to lunch, and he told me, I am absolutely madly in love with you. We're going to be together one day, and I was like, what? Are you kidding me? You're many, many years older than me, and I'm just not available. He ended up really pursuing me. I didn't go with him for that first year while he was kind of being my groupie.

That's when he's writing these songs. Every club, the Starwood, the Trubedore, the Whiskey, three shows a night, sold out, cut to. I'm driving back to my work, and I'm just like, did I just hear a song with my name in it? On the radio, like, what just happened? From the Freakonomics Radio Network, this is the economics of everyday things. I'm Zachary Trachit.

Today, My Sharona. It's the story of how one hit single can pay off for decades. On August 25, 1979, my Sharona seized the number one spot on the Billboard Hot. 100. It stayed there for a full six weeks, becoming the biggest hit of the year. In an era of disco dominance, my Sharona stood out. The song was written by singer-gatrist Doug Figer, who died in 2010, and this guy. My name is Burton Aver. I was the lead guitarist and co-writer in a group, The Knack. The Knack was a rock quartet that formed in L.A. in 1978. When our band first started, I was living in my parents' house in the Valley.

We weren't making any money at that point. But the band soon gained a cult following for their high-energy shows at clubs in West Hollywood. And it wasn't long before Figer planted the seed for a song that would change their lives. My Shaw was one of the first songs that Doug and I wrote together when we started playing the troubadar. Doug was always saying, we should have a song that's like the end of the set that, makes them want us to play an encore. I was a huge fan of Elvis Costello's. And the drum breakdown and pump it up was like so just feral and exciting.

I picked up a guitar and I started playing the riff that we know is the Michelona riff. And I thought this is pretty good. So we went back to Doug's apartment. And Sharona was this young woman, and Doug took a shine to her. He just off the top of his head came up with the kind of stuttering the my Shirona. He was channeling Roger Daltrey in my generation. And we'd cranked it out. You know, I'd say maybe an hour, best hour ever.

In economic terms, that one hour of songwriting was one of the two most productive hours of Burton Aver's life. We'll hear about the other in a minute. The band at this point was only earning a few hundred dollars per gig. But they were building buzz. It was 100% word of mouth. We were kind of a local sensation in that sense. we had a string of really big names getting up and jamming with us because we played really well for a band.

We're talking Stephen Stills, Eddie Money, Tom Petty, and then... Springsteen got up and jammed with us and the record companies that were there. The next morning, our manager is fielding calls from all of them talking potential record deals. They signed with Capitol Records for an advance of around $100,000. which was pretty sizable at the time. But a record advance isn't pure profit. There are strings attached. The label gives you advance money

so that you could record the album, and then your first sales, all the money goes back to them until you've paid back the advance, right? So in an era where people were spending, like $400,000 to make their albums, we spent, and this isn't an exaggeration, $17.5,000. That thrifty approach led to the other most productive hour of Burton-Veer's life.

Most of what we did in the studio were one takes, one takes, and then we re-record the singing. You hear a lot of big-name bands, you know, spending hours and hours and hours in the studio, just carefully crafting one song. That was not the case here. No. So after recording My Sharona and the old. 11 other songs that went on to their 1979 debut album Get the Knack, the band was left with more than $82,000

from the advance. The trade-off with an advance is that once you take the record company's money, the recordings become their property, not yours. I mean, mid to late 70s, the traditional deal would be that the record company would own the master, and they would provide a percentage of the sales

to the artist. They would call them points. That's Michael Kloster, head of the music publisher, Reach Music. He represents both Aver and the estate of Doug Figer. You know, if you had 10 points, 12 points, 14 points, the record company would be making the majority, 90%, 85%. Our band got, because we were in demand, 13 points, which was for a new band, it was unheard of. that's 13% of every physical copy sold. And the album Get the NAC sold 2 million copies in the first year alone.

At first, the NAC didn't get to collect their artist royalties. Those went straight to capital to pay back that $100,000 advance. Once that debt was paid, though, the band started receiving checks. And that was very nice for all four members of the NAC. Burton of Air and Doug Figer, along with bassist Prescott Niles and drummer Bruce Gary. Meanwhile, my Sharona was all over the radio, and that meant performance royalties. That's a huge revenue stream, especially back in the day if you had a big radio hit, you would generate significant performance income. Performance royalties get paid when recording is played in public, say over the radio, at a roller rink or in a store.

But that money didn't go to the knack. It went to Doug Figer and Burton Aver, the two band members who had written the song back in Figer's apartment. They owned the copyright to My Shirona as a composition, the tune, the lyrics, the rhythm, the chords. Being the songwriter is really key

to your financial success and your longevity. It kicks off numerous amounts of other royalty streams that really have nothing to do with the record company and that the record company would not be recouping against. As the songwriters, Aver and Figer also got an extra share of the record sales according to copyright holders. That's called mechanical royalties.

I remember the first check I got from the mechanicals, and it was about 90,000. Remember, performance royalties and mechanical royalties are attached to the song as a composition, not the recording. This was Figer and Aver getting paid for that first golden hour writing the song in Figer's apartment. Not the second golden hour when they were cranking out the record in the studio with Prescott Niles and Bruce Gary. All of this was just the beginning. Later that year, a college student in San Luis Obispo, California had the idea to record a parody of My Sharona.

He sent it into the disc jockey Dr. Demento who played novelty songs on his nationally syndicated radio show. show. That is how the world first met Weird Al Yankovic. My Bologna was released as a single and on Yankovic's first album. And because My Bologna was adapted from Aver and Figer's song, they collected royalties whenever the parody version was played or sold. That wasn't always the case when other musicians made use of My Shirona. In 1987, Run DMC used a sample from the NAC's own recording of the song. At that point, the law around using samples was a bit unclear. Run DMC never got permission from the NAC to use the recording,

so the rock band didn't get paid when it's tricky made the charts. 19 years later, the NAC filed suit for copyright infringement and the parties came to an undisclosed settlement. Now, samples usually are not a big moneymaker. For my Sharona, the serious bucks were yet to come. That's after this break. By the early 90s, the revenue streams from My Sharona had seriously decreased for Burton Aver. I mean, Doug and I were getting by.

We weren't like on the street or anything, but we weren't making significant money. The NAC had put out follow-up albums in 1980 and 1981, and these sold a few hundred thousand copies a piece. Decent, but nowhere near the success of Get the NAC. Shortly after that, the members started to squabble and the band split up. They later reunited for a fourth album, which was a critical and commercial flop. It seemed that the NAC had run its course. And yet, as Michael Closter points out, you know, anything that hit number one from a certain time period will be used and rediscovered. For My Sharona, that happened in 1994. And beyond, his naive, spelled back.

Could you turn this up, please? Please. You won't be sorry. Thank you. Reality Bites. That was a really big use of My Sharona. Reality Bites was a comedy directed by Ben Stiller about the romantic and creative struggles of 20-something Gen Xers. It grossed more than $20 million.

And some of that went back to Aver and Figer in the form of something called synchronization royalties. Synchronization income, which is the licensing of music in a film or a TV show or an advertisement or a video game. That's a huge revenue stream for the songwriter. There's no barriers except for the free market to tell you what you can charge for your song. We made a good chunk off of the sink rights. It was probably about 60,000.

Reality Bytes put the original recording of My Shirona back on Billboard's Hot 100 chart again, 15 years after its release. What happens is that the people who were into it originally are at a different stage of life. They re-experienced the song. And then what also happens is new fans. new fans, new sales, and even more synchronization deals. Do you have a rough estimate on how many films and commercials and advertisements my Sharona has been used in over the years? It could be 50.

We're constantly throughout the year licensing the song in all different types of situations and all over the world. So you never know when you're going to get a great email in your inbox. how they want to use your song in a very large substantial way, which equals a very large substantial payday. The 21st century has introduced one more income source from My Sharona, streaming royalties, paid by platforms like Spotify and Apple Music when users play the song.

The record label negotiates a rate for the recording and then gives the band a cut. And the publisher collects a mechanical royalty and a performance royalty, both of which go to the songwriters. Those rates are a lot lower than what a band makes on physical record sales. When you look at your statements and you actually see the per-song micropenny rate, you're like, oh, my lord. On an individual line basis, it's very minuscule, but we're talking about such volume that it really adds up. Before he died from cancer in 2010, Doug Figer called My Sharona the Golden Albatross. Bert Naveir, for his part, is still composing new tunes, mostly in musical theater.

But if he'd never lifted a finger beyond that hit song, he'd still be getting paid. I know you don't want to say the exact amount of the checks, but are we talking like mortgage payment money, car payment money? Well, let me put it this way. It's easily over $100,000 a year and less than, I say, $300,000. I still make a very good living off of that one song. I do not have the wolf at the door probably never will. So a man who co-wrote one hit song 43 years ago still makes six figures off of it to this day.

None of that money is flowing to Sharona Alperin. Today, she's a real estate agent in Los Angeles. She has some ambivalent feelings about the hit record that was written about her. a record, I should say, that presents a 17-year-old girl as the object of an older man's lust. I mean, come on. My? Let's think about it. Is there a more obsessive or possessive word in the English language?

My? It's like, dude, no, I'm not yours. It was time for me to be my Sharona. And where should people go if they want to find your business online? Oh, thank you for asking. They can go to My Sharona. com. For the economics of everyday things,

I'm Zachary Crockett. This episode was produced by Sarah Lilly and mixed by Jeremy Johnston with help from Greg Rippin, Jasmine Klinger, and Emma Terrell. If we wanted to play Maestrone on this podcast, how much would that set us back? We would enter into a free market negotiation

and I would try to extract as much as I can from you. No, no. We're all good. The Freakonomics Radio Network, the hidden side of everything. Stitcher.