0:00
It's a constant struggle to maintain belief in yourself
0:06
But the beauty of her was how gentle and fragile she was
0:13
Every breath was a creative idea. And yet she was always fighting with she wasn't enough
0:20
The real alley, and she would hate if I said this, I'm going to say it. The alley that a lot of us were privileged to know, her actual Alta, like her as this child
0:29
She had to put this wall up protections in the way that she dressed
0:32
in the cars that she drove, in the house that she lived in, so that she could always have this safe space for who she actually was
0:40
She was always afraid she was going to lose her house. I'm going to lose my car. I'm going to lose everything
0:45
And you would think that she would be so financially solvent. I was surprised by it because I thought, oh, she's set for life
0:53
Songwriting is a really screwball way of making money. People that do these giant hits, and then they had a publisher
0:59
deal with somebody so they didn't make any money. That whole friend's birthday song
1:03
Did they pay you out for that, or was that meant? $2,000
1:07
$2,000, now I get royalties. But... Once it started to be a big hit, all of a sudden
1:13
the producers wanted a percentage of it. Allie wrote it with Michael Scloff
1:17
Initially, it was just split between the two of them, but then once it's the number one hit
1:22
Next thing you know, the producers want a piece of it. And it's like, why
1:26
Oh, we gave notes. And... And I said, Allie, you should get a lawyer
1:31
I can't afford a lawyer. I'm like, Allie, I'll pay for the lawyer. He goes, no, no, I don't want to do this
1:37
Those are, they're big people. I mean, she just ate it
