Archive for May, 2009

Unfamiliar Territory

May 28, 2009


When it comes to writing, we’ve all heard the phrase, “Write what you know.” Good advice and it works. In fact, it was the subject of a tip in our June 22, 2002 ezine, issue #17. We still recommend it highly.

But what about the opposite approach? How about doing something bold and daring, and writing a song on a topic about which you know NOTHING? Why not? Taking it a step further, try writing on a subject that NO ONE knows anything about.

For example, you could write a song about:

– what cats are thinking
– the power of cheese
– living on another planet
– the life and times of a subatomic particle
– crossing the ocean in a life raft
– the daily travels of a water droplet
– what that rock you just tripped on has seen over the ages

This can be a chance for you to let your imagination run wild! Who’s to challenge you on the validity of what you say? For example:

I am a tiny particle
That zips around a nucleus.
I’ve been charged with being negative,
But the claim is rather dubious.

Put a spin on me if you will,
You won’t see me standing still.
Try to catch me if you can
An electron name of Dan

OK, the above is kinda strange, but I wrote that in five minutes. Think of what you could do if you really got into it!

The point here is that when it’s something you know nothing about, it can free your mind to go to places that are not bound by logic or facts. Just let your mind go where it will, there’s bound to be a song in it!

Let us know if you find this exercise helpful, and if you have any that work for you — we’d love to hear about them!


Have you looked under the chickens?

May 26, 2009

Derek Sivers, founder of CD Baby, and champion of indie musicians, is someone I respect and admire. Every time I hear him speak or read his stuff, I’m amazed at how on it he is. Here’s his latest post, where he suggests we don’t overlook the simple answers.

Sometimes, we make it too complicated. In my day job, I fix computer and networking problems: wiring, software, hardware, protocols, blah blah.

Yes, computers are complicated. But it never hurts to look at the least complicated solution first. Like, check if the thing is plugged in, if it’s turned on. Often that’s the fix.

The same applies to songwriting. I’m guilty of looking for the most complicated chord or riff for a turnaround, for example, when sometimes a simple major chord is the best solution.

Q & A: Songwriting for Beginners

May 22, 2009

Q. Dear Tip Jar, I have been playing the piano for 4 years. I am in the seventh grade. Everyone says that I have the ear for piano, but I can’t seem to write music! What should I do? – Darlene in Dearborn

A. Darlene, Here’s a radical thought: I think everyone ‘writes’ music. Without even trying, young children often hum these little singsong things to themselves while at play. Older people do almost the same thing, but most aren’t conscious of it. And even if they are, they don’t remember the melodies, partly because they don’t bother to try. They don’t think of themselves as songwriters!

So if you want to be a songwriter, start thinking of yourself as a songwriter. That’s step one.

OK, these little children’s things aren’t technically songs. But they are melodies or fragments of melodies. Melody is one of the most important elements of a song. It’s the part we remember most. So allow yourself to do this: when a little melody pops into your head, recognize that you may have just started a song and try to remember it. Use a tape recorder, digital voice recorder, phone voice mail, whatever helps you preserve it. Let’s call that step two. You’re thinking like a songwriter already.

Let’s break down a song into four components. There’s melody, harmony (chords), rhythm and words (lyrics). Melody is a very key component. Many songwriters don’t do words and so they partner with a lyricist. Some songwriters write a melody and words, but co-write with someone who is good at harmony. My point is, you don’t have to do it all.

And a good way to get better is to co-write with a more experienced writer for awhile. You’ll learn different things from different co-writers. I won’t get into lyric writing here. I couldn’t do it justice in a few short sentences. Books have been written on it.

[Many people are confused by the term harmony. It has two meanings. People think of vocal harmony, what backup singers do. The ‘lead’ singer sings the melody and all the other singers are singing harmonies. While that’s true, it’s only part of the story. Harmony is all the other notes going on, accompanying the melody, and that includes not just the singers, but all the instruments. It might be easier to think about if your song is just for one voice and piano. The voice is the melody, sometimes the right hand is also playing the melody and everything else is considered harmony. Often people use the terms chords and harmony interchangeably.]

Of course, I’m over-simplifying. At first, finding an appropriate ‘left hand’ to go with your right hand can be very hit or miss, just trial and error and there’s nothing wrong with that.

If you are a words person, you may want to write the words first or the words and melody more or less together. If you are not a words person, you might want to start with the melody. There is no one right way to write a song. So I’m only suggesting things to get you started.

Thinking again of people in general (non-songwriters) who unconsciously ‘write’ little melody fragments in their heads and sing or hum them. What many people lack that would help them remember and develop these melodic fragments is some musical knowledge and skills on an instrument. If you’ve been taking piano lessons, you probably have both.

So why isn’t everyone who hums a melody fragment a songwriter? Mostly it’s because they’re not interested in being a songwriter, in my opinion. If you want something badly, you’re willing to go to great lengths to get it. And to be a good songwriter, you have to work hard, have patience, determination and all that stuff.

It’s not hard to think of a melody, but it sometimes takes many rewrites of the melody, harmony and lyrics to really polish it, to transform it from a raw idea, full of potential, into an actual, serviceable song. And all that rewriting can be daunting and difficult and boring and tedious, etc.

If you really want to become a songwriter, you’ll push yourself despite those obstacles. You’ve already pushed yourself to learn to play the piano, so you are totally on the right track. You don’t have to play an instrument to write songs, but it’s a big asset.

At some point you could take the melodies you’re singing in your head and play them on the piano. Most people could not do this, either because they don’t play an instrument or they play, but don’t have an ear for it. They only can follow the notes on the page.

I won’t go into rhythm here, because I think you will hear and feel that naturally. I suggest you concentrate on melody first, then chords. Unless you’re a words person and then you can start with either words or melody, and then think of chords last. The chords thing is something that your piano lessons will help with, especially if your instructor is teaching music theory as you go along.

I hope this has given you something to think about. Start out with small goals and build up slowly. This is like taking baby steps. Think of each song you write as practice. They can be extremely short. Each song you write will make it easier to write the next one.

If you start doing this, you will be teaching yourself how to write songs. And, like other types of learning, it takes practice.

Music-to-picture: writing music for games

May 21, 2009

An interview with Robert Cote, Jr.

Annual North American sales of game software and hardware is now $11 billion. That’s more than movie box office receipts. We wondered what it would be like to write music for video games, is there a career in it, how would you go about getting into it, etc?

We were very fortunate to get an interview with Robert Cote, Jr., who does this for a living. He answered all our questions and offered some valuable advice for anyone interested in breaking into the business. Check the Songwriters Tip Jar Forum for samples of his work.

Q: How do you get inspiration for your compositions? Is it from the theme of the game, or the feeling you get from the game, or what?

A. When I’m writing for a game or any music-to-picture application, I’m usually provided with some concept art, which are just freehand drawings of product assets like characters, environments, weapons, etc. I’m also given either a verbal or written plot synopsis, descriptions of environments and characters, etc.

With these materials, I can quickly get a visceral feel of what the tone of the game is and start imagining what sort of instruments will provide the appropriate textures. I might listen to game or movie soundtracks to get inspired. Sooner or later, melodies, rhythms, or different ‘hooks’ will start to surface in my mind. I’ll bang out several ideas on the keyboard and then sift through them to find the material that sounds the most promising.

2. How much of your composing involves incorporating instruments or effects that create the mood you’re going for?

Instrumentation is half the battle. Much of my time on a piece is spent putting together a toolbox of instruments and sound effects that will help achieve the right mood. I feel that there’s a growing trend toward using unique and rich sonic textures to make a piece interesting. Older-school composers (John Williams, for example) will stick to tried and true orchestral colors, but try to assemble them in inventive ways using very sophisticated melodic and harmonic structures. The newer generation of music-to-picture composers have vast resources at their fingertips because of ever-improving computer and digital sampling technology. Many of the newer-school composers will use much simpler melodies and harmonies, while incorporating a stunning array of fresh and unusual sound layers.

3. Do you think of a game’s sound effects as distinct and different than music, or another form of “music?”

It depends on the application. When I’m doing the ambient layers of an environment – an eerie cave or tomb, for instance – the line between sound effects and music tends to blur. There are components that could fall into either category, like a low, ominous drone or creaking metal in the distance. When I’m designing more tangible object-related sounds like a sarcophagus opening or a sword impacting a creature, I don’t think of that as music – although it’s still a very creative and artistic process. I’m sure one could argue that every sound we hear is a form of music, but to me, a certain level of rhythmic or melodic organization is required.

4. How constrained do you feel; that is, are you forced to write within strict parameters, or do you have free reign? How does that work?

It all depends on who you’re working with. I’ve had creative directors that have loved virtually everything I’ve thrown at them, and I’ve had some that have been very finicky and have tried to micro-manage the process. This is an important point, because it makes all the difference in the quality of your work experience.

There are definitely parameters that are dictated by the project you’re working on, but also a vast number of possibilities that will get the job done. Good creative directors will have a fairly clear idea of what they want and the ability to communicate that idea to a composer effectively, while being open to different approaches that may not have occurred to them.

5. How would someone interested in writing the music behind games get started?

Where do I start? There’s no easy answer. It’s a case of many qualified people competing for very few positions. Assuming that you already have fairly decent composition skills, the first thing to do is to make an impressive demo packet. Include as many styles as you can (and think instrumental movie soundtrack), such as dark orchestral,
action-techno, African jungle, etc. It’s OK to use 30 to 60 second snippets rather than entire songs if that will get you up and running faster.

You should be constantly updating your demo as your skills and experience increase. Have it ready to send out at any given time. I’ve never had any success just cold-selling my stuff to game developers. I sent dozens of packets out and never received a single response. Game companies are bombarded by demos and most are probably thrown away without even a glance. They tend to use composers that they know of, or that have been recommended by an agent or someone in the business. I was lucky enough to have a friend of a friend who owned a small software company. I got my foot in the door and learned my craft by doing, all the while building a network of contacts that would serve me years later.

If you don’t happen to be lucky enough to stumble into a position like I did, the next best thing is to get any job into the industry you can. Many times there a position available for game testers. You will be expected to be enthusiastic and knowledgeable about the gaming world. If you can afford to work for little or no money, try doing an internship. Get your foot into the door any way possible. This will give you an opportunity to meet some pros and shop your demo to the powers-that-be. It’s all about knowing the right people and being in the right place at the right time.

6. Would you be willing to let us show off some of your MP3’s on STJ?

Absolutely! I’ll send some MP3s of my stuff. (Hear them at Songwriters Tip Jar Forum.)

Why should I check my mixes in mono?

May 18, 2009

It’s true that we’ve been living in a stereo world for many years now. Television is broadcast in stereo. FM radio is stereo. And AM radio mostly broadcasts talk shows or older music recorded in mono to begin with. So why does ‘mono’ matter? Because there are still some cases where your mix might get played back in mono or something similar to mono.

For instance, there are several wireless speakers on the market that are switchable from either left channel/right channel or mono. There are alarm clocks that’ll play a CD but only have one speaker. And more often than not, PA systems are set up for mono.

So what might you discover when you listen to your mix in mono? Some stereo effects panned hard left and right can practically disappear in mono playback. This might not be a concern if you’re only dealing with reverb returns. But if you’ve recorded a piano in stereo and panned the tracks hard L/R, the balance in relation to other instruments may seem totally out of whack in mono.

There are ways to combat this. You might buss (send) both channels to a third channel, panned up the middle, and blend it in a little. Or you can move your hard panning in toward the center a bit, maybe around 7/5 o’clock or 8/4 o’clock.

Bottom line: This issue is really minor compared to, say, 20 years ago. But it’s worth spending 15 minutes per mix checking the balances in mono, just to be sure that your work will retain its impact no matter where it is heard.

The information above came from “Studio Buddy — The Home Recording Helper.” It’s a self-contained, easy to use database of recording tips designed specifically for people with home studios. If you find this article helpful, you should download the FREE program at Studio Buddy.

Reprinted with permission from TAXI: the world’s leading independent A&R company helping unsigned bands, artists and songwriters get record deals, publishing deals and placement in films and TV shows.

© 2002 TAXI. All rights reserved.

Art of the Song

May 14, 2009


Art of the Song: creativity radio is a one-hour independently produced radio show with music and interviews exploring inspiration and creativity through songwriting and other art forms. The program is heard on over 190 stations worldwide. Learn why songwriters and artists create, how they become inspired, and how you can tap into that creative source in every aspect of your life.

iPhone band

May 13, 2009


Watch and listen as the band known as iBand plays a tune on their iPhones: using a drum app on one iPhone, keyboard apps on two other iPhones plus a live voice.

Writing under duress

May 12, 2009

We received a question that boils down to ‘How do you write when you’re feeling stressed out?” A short, three word answer is: practice, practice, practice.

And the long answer: It’s no fun trying to accomplish anything when you’re under stress. So it certainly won’t be fun trying to write a song in that condition. But I suggest that forcing yourself to write every day, even when you’re feeling stress, will lead you to overcoming the difficulties. In fact, it might get to the point where songwriting is a way for you to relieve the stress stemming from other parts of your life.

Sure, at first you won’t necessarily be proud of what you’ve written. That’s not important. It’s OK to write stuff that doesn’t end up being great, ideas that don’t pan out, etc. Even the best writers have stuff they would never want us to hear.

Practicing every day is like exercising a muscle. The muscle gets stronger gradually, so slowly you won’t even notice it at first.

A great athlete doesn’t want an audience watching him or her exercise and practice all year. They only want the audience for their big performance at the Olympics, where sports fans can see the results of all that practicing.

Likewise, a songwriter doesn’t want the audience to hear every note he or she writes. But when the big performance comes, songwriters bring out their best work, which came about as a direct result of all that practice.

The ultimate music business conspiracy theory

May 11, 2009

by Bob Baker

Whether it’s the second gunman on the grassy knoll, the alien mystery at Roswell or what really is hidden within the high-security confines of Area 51… conspiracy theories abound. Many of us are amused by the speculation, while hardcore buffs examine every nuance looking for clues to support their version of the story.

If you’ll notice, all of these conspiracy theories involve some type of dastardly deed or cover-up. Someone is out to brainwash us or hide the facts from the public. After all, “the truth is out there,” according to X-Files scripture. I never seem to hear people suspecting, for instance, a conspiracy by furniture salesman to stuff money into the nooks and crannies of the couches they sell. Yet I always find change under the cushions when I clean. Hmm… maybe they’re secretly… Oh, never mind.

There’s another kind of conspiracy conjurer. You know the type. The artist, musician or writer who believes the deck has been stacked against him or that nobody will ever give her a break. “This town is just not artist-friendly,” he/she proclaims. “This sucks. Why bother?”

To listen to these people, you’d think the radio stations, theatre groups, art galleries (or whatever venue applies) were all part of a sick joke, trying to obliterate creative growth. And just like the bigger conspiracy nuts, they find clues and plenty of ammo to support their claims.

“See, that guy never returned my call,” they announce. “I can’t buy a job in this town.” Anything even remotely inconvenient that happens to them lends credence to the devious master plot.

Here’s a fun little game that I challenge you to play. It’s called the Inverse Conspiracy Game. For one entire day, I encourage you to go through the day believing wholeheartedly that there is a conspiracy involving you. Only with this Inverse Conspiracy, the whole world and everyone in it are involved in a conspiracy to help you succeed.

If you’re familiar with the recent Jim Carey movie “The Truman Show,” you know what I mean. In the film, everything that happens to the main character is a preplanned scene — only he has no idea it’s fabricated.

So for one day, imagine that everyone is pitching in on a secret mission to help you. There’s a positive reason behind everything that happens to you. Even seemingly negative events are put into action in order to propel you toward a reward that’s just around the corner. And it’s your job to break the code and figure out exactly how the world intends for you to use what happens to your advantage.

True, this isn’t your father’s conspiracy theory. It will take some brain work to reorient your mental perspective — especially to keep it up for an entire day. But just think how this shift in attitude might alter your progress. You’ll be forced to view everything in a far more constructive light. And when bad things do happen, it will be your mission to find the hidden opportunity (instead of more reasons to stop trying to reach your creative goals).

Give this inverse conspiracy theory a try. You can always go back to looking for evil schemes and cover-ups. In the meantime, you just might discover an alien on a grassy knoll waiting to help you succeed.

Bob Baker is the author of “Guerrilla Music Marketing Handbook,” “Unleash the Artist Within” and “Branding Yourself Online.” He also publishes, a web site and free e-zine that have been delivering marketing tips and inspirational messages to music people of all kinds since 1995. Get your FREE subscription to Bob’s e-zine by visiting today.

releasing copyright – the smartest thing you do

May 7, 2009

Bob Baker never fails to intrigue me with his podcasts, books, blogs and Facebook posts. This time he points us to another writer, Leo Babauta, who writes a blog called Zen Habits and another one called Write to Done.

This particular post lays out Leo’s thoughts on abandoning the traditional copyright in favor of a more open system, and there are several options.

Here’s his article in full:

The Culture of Sharing: Why Releasing Copyright Will Be the Smartest Thing You Do

By Leo Babauta

Recently I stirred up a roar of controversy with a post at Zen Habits: Feel the Fear and Do It Anyway (or, The Privatization of the English Language). I had no idea the post would bring out such strong reactions in people, but I feel very strongly about freedom of speech and allowing ideas to be freely circulated.

And while I was a bit dismayed at some of the anger that was aimed at author Susan Jeffers (a number of people posted angry reviews for her book on Amazon), what did give me hope was that people made it clear that they have strong feelings about the issue.

A large number of us want people to be able to share ideas and communicate freely, without legal restrictions. And I’d go even further: we like it when creative people freely share their work with us, and allow us to use their work (or derivatives of it) in our own work.

This is the Culture of Sharing that is growing on the Internet. It has a long history, even pre-dating the Internet, but in recent years it seems to be blooming nicely. Open-sourced software is a great example: people collaborate to create code that can be used by others — it can be used freely as software, but more importantly others can use the code in their own software projects, or take the code and improve upon it. Everyone wins — the users of the software, the programmers who are able to use open-sourced code, and even the original programmers, who receive recognition for their work and the knowledge that they’ve contributed to something good. Microsoft and the other companies that use their might to protect their code are suddenly made much less powerful by open-sourced projects like Firefox, OpenOffice, GIMP and the like.

Now extend this concept to writers and other artists — musicians, photographers, painters, filmmakers, etc. — and see how powerful the Culture of Sharing can be. All of a sudden, copyrights become barriers to creativity, and sharing becomes a way to contribute to the overall creative community, and to the world in general.

Last year I Uncopyrighted my blog, Zen Habits, and my ebook, Zen To Done, and it was one of the best things I’ve ever done. People have used my articles in blogs, newsletters, magazines, ebooks, books and more. And yes, they’ve made profits off me without me getting any of that money … but at the same time, I’ve benefitted: my ideas have spread, my name and brand have spread, and my readership has grown and grown. Since I Uncopyrighted the blog, it has grown from about 30K subscribers to 113K.

You can Uncopyright your blog, your ebooks, and even your print books. And I can almost guarantee you: it’ll be the best thing you can do as a writer.

The Old Model, and Why It’s Wrong

People who are used to the traditional model of copyrights will be alarmed and perhaps even angered by this article. They’ve been taught that copyrights actually protect the rights of artists, and in doing so actually encourage creativity. After all, if an artist doesn’t have copyright, he can’t make a living, and what would his motivation be to create anything then?

This logic is plain wrong.

First, history proves it wrong. Copyright laws originated in the 1700s, but amazingly, there were a few people who were able to create works of art without the protection of copyright laws. Shakespeare, Milton, Cervantes, Virgil, Dante … to name but a few big names. There are, of course, thousands more. And here we’re only talking about writers — a few other artists also were able to create art: da Vinci, Michaelangelo, Mozart, Beethoven and Vivaldi are just a few who created before their works were protected by copyright.

Second, copyright has evolved into protection for corporations more than for artists these days. The people really pushing for copyright protection are not really people at all, but huge media conglomerates. They are protecting a system that is set up to make them money, but that only helps a handful of artists. The vast majority of artists are never read or seen or heard by the public, because the corporations don’t deem them to be profitable enough. So the system doesn’t help artists anymore — it hurts them.

Third, I have proven that it’s possible to make money, even today, without using copyright. And so have many others (Cory Doctorow being a notable example). The release of my copyright didn’t decrease my income — it increased it. It didn’t decrease my exposure — it increased it. We’ll talk more about this below.

Finally, copyright actually hurts artists, instead of protecting them. When you try to protect your copyright, you waste precious time and money pursuing violators — time and money you could be using to create instead of threaten litigation. When you protect your copyright, you are denying someone else the use of your ideas and creativity — which might seem good to you, but it doesn’t seem good to the person on the other end, and the community in general suffers a bit. And it hurts your reputation (if people think you’re selfish and protective) and stops your ideas from being spread as widely as possible.

By protecting your copyright, you are putting up barriers for the spread of your ideas. In this digital age, that is a mistake, plain and simple.

Why Releasing Copyright is the Smartest Thing You Can Do

So let’s put aside the old model of copyrighting works for a minute, and ask ourselves: “What might happen if I release my copyright?”

Seriously, think about it for a second.

Sure, some websites might scrape your content, re-using it and putting ads on it — making money from your hard work. And sure, someone else might throw it into a book and sell it, without paying you. You’re losing money, right?

Not necessarily. These people are making money by selling your work to customers you probably wouldn’t have reached anyway. They’re making money, sure, but how does that hurt you? If you could have reached these readers, you probably will anyway. In fact, if these readers really like your work, they’ll probably come looking for more … and you’ll gain a bunch of new readers.

And many others might use your work without making a profit. They might put your work in a free newsletter, or print it and use it in a classroom, or put it on their blog without making money. They’ll share your ideas with others, and give you credit. Now you’re reaching thousands of people you never would have reached before. These people are doing your marketing for you, for free!

I’ll repeat that in case the italics and exclamation point weren’t emphasis enough: by releasing copyright, you might get people to do your marketing for you, for free.

This digital age is defined not by how much money you can make with an individual post or book, but how widely you can get your ideas to spread. If you get your ideas to spread widely, you’ll make money. Somehow.

But how can you make money if you don’t have copyright? Let me count the ways:

1. You can sell ads and make money off the increased visitors that come from your increased reputation.
2. You can sell print versions of your book (after releasing an Uncopyrighted ebook version), and people will buy it anyway, because they like to have print books.
3. You can become a consultant and people will hire you because you are widely regarded as having authority in the field … because your ideas are spread widely.
4. You can sell ebooks (as I do) even if the copyright has been released. Most of my website income, in fact, comes from sales of my Uncopyrighted ebooks.
5. You can gain a print book deal from your increased readership and reputation.
6. You can become a speaker at conferences and other events.
7. You can create seminars and other training courses.
8. You can sell related materials — t-shirts, coffee mugs, learning materials, etc.

And that’s just off the top of my head. You can probably think of a hundred other ways. And it’s not only theoretically possible — as I said, I’m doing it now, and making more money than ever.

But wait, there’s more.

Releasing copyright isn’t just about making money off your creative work — it’s much more powerful than that. It’s about sharing your ideas with others, and allowing them to use it in their work.

Think about this for a second: none of your ideas are completely original. Mine sure aren’t. I take the ideas of others and build upon them. I try to create new ways of looking at old ideas. I combine old ideas in new mixes. Sometimes I just dust off old ideas that people have forgotten about. Sometimes they’re only new to me — I just discovered them and tried them out and found they worked, but they’ve been around in many forms for ages. All creative work is like this in some way. We take the ideas of others and build upon them, remix them, look at them in new ways.

If this is true, aren’t you indebted to so many other creative types? Would you have been able to create your work at all if you hadn’t been exposed to the works of thousands of others? Could you have created anything without using the ideas of others in your work?

And now think about this: by giving your work to others to use, isn’t this a wonderful way to repay the creative types that came before you and made your work possible? Isn’t it a great way to contribute to the creative community, and to make the world better?

I love to see how others take my work and build upon it, remix it, make it better. They have made my work more beautiful. And in doing so, in benefiting and participating in the Culture of Sharing, they have made the world a better place. And so have I. And so can you.

So let’s talk specifics, briefly. By releasing copyright, you will have a few benefits come your way:

* Others might take your work and use it and spread it in various ways.
* New readers will hear of you for the first time, and come to your blog or buy your book.
* You will have increased visibility, a stronger brand, more readers, more traffic over the long haul.
* You will make more money.
* You will help others create, and make the world a better place.

None of this is guaranteed, but if your work is good, it will almost surely happen.

The Mechanics of Releasing Copyright

So how should you do it? There are several different ways to share your work with the world. Some of the most popular:

1. Creative Commons. One of the most widely used licenses, it commonly requires only attribution. There are several versions.
2. GNU. The inspiration for my Uncopyright. For text, you should probably use the GFDL.
3. Leo’s Uncopyright. Mine is one of the freest licenses ever, because I don’t believe in any restrictions. Basically, I have released my work into the public domain. That means there is no license — you aren’t required to include the license in the work, or attribute the work (although I love it when you give me credit).
4. WTFPL. Or, the Do What The Fuck You Want To Public License. Hilarious, but usable. Check it out. Here’s the full text: 0. You just DO WHAT THE FUCK YOU WANT TO. Very clear wording, imo.