
(H) COLLABORHYTHM COLLABTUNES 
COMPREHENSIVE BUSINESS PLAN 

Prepared by Tom Jensen
Collaborhythm Collabtunes 
April 6, 2026 

SECTION 1: EXECUTIVE SUMMARY 
   This is a business plan for a project that has never been attempted before in the history of the music industry. It is not a record label. It is not a publishing company. It is not a streaming service. It is not a venue. It is not an app. It is all of these things at once, and none of them in the way they have traditionally existed. 

   The project is called Collaborhythm Collabtunes. The creator is Tom Jensen, a 47-year-old lyricist who has spent 29 years writing approximately 495 songs worth of lyrics. One hundred twenty of those songs have already been recorded by musicians from all over the world — and about 50 of those are definitely worth the listen, haha. The other 375 are waiting for music, waiting for voices, waiting for the right person to scratch the lottery ticket. 

   Tom Jensen does not sing. He does not play instruments. He does not produce. What he does is write words. That is all he has done for 29 years. And now he is giving those words away for free to anyone who wants to make music with them. 

   The only requirement for using any lyric in this catalog is that you credit the source. Every use, every recording, every cover, every performance must include the line: "Lyrics by Collaborhythm Collabtunes' Tom Jensen." That is it. No royalties. No permission needed. No lawyers. The words are free. 

   But here is where the business plan begins, not ends. Because free words are not a business. The business is what happens when those words become songs. And the business is what happens when those songs are made in public, with an audience, with a live stream, with an app that tracks every contribution and every contributor so that when a song makes money, everyone who helped make it gets paid. 

    The vision is simple to state but radical to execute: a physical venue, ideally a bar or coffeehouse or music room, where musicians come to make original songs live on the spot using Tom's lyrics as their raw material. The audience watches. The audience participates. An online audience watches a live stream and participates through a moderator. Every person who contributes anything to the song — a melody suggestion, a chord change, a lyric tweak, a vocal performance, an arrangement idea — gets registered in the app. If that song ever generates revenue, from streaming or sync licensing or covers or anything else, the revenue is split among all contributors according to their level of participation. 

   This is the lottery ticket concept. Tom has 434 lottery tickets. Most have never been scratched. He wants a place where people can come scratch them together. And he wants everyone who helps scratch to get a piece of whatever they find. 

    Tom is not looking to become a billionaire. He is not looking to become the face of a global brand. He is looking for a few specific things that he has been honest about from page one of Book Two. He wants a live venue where this can happen. He wants a CEO — a fellow visionary with operational skills — to build and run the business while Tom focuses on creative decisions. He wants healthcare. He wants a weekly salary. He wants a sign-on bonus. He wants a percentage of revenue from live appearances and anything else this project generates. And he wants, non-negotiable and at the top of his list, full United States citizenship for one specific person who is essential to this project. That person has been in the United States for decades, has done everything right, and is stuck in paperwork limbo. Tom will not move forward without this person being secured. 

   The business model is horizontal, not vertical. Tom does not want to charge $1,000 to 100 people. He wants to charge $10 to 10,000 people. He does not want an exclusivity barrier. He does not want corporate shareholders. He does not want to become the thing he has spent 29 years critiquing. He wants to build something that pays the people who actually make the music, that stays accessible to the people who want to participate, and that honors the memory of Lady Weaver, the greatest musician Tom ever encountered, whose death cemented this entire free-license, bottom-up revenue system in her honor. 

   This is not a charity. This is strategy. This is a business plan for a project that has already proven it can work — 120 songs, 120 verified contributors, a chain of ownership that already exists without a label, without a lawyer, without a middleman. The app needs to be built. The venue needs to be found. The CEO needs to be hired. The citizenship needs to be secured. But the hard part — the 29 years of writing, the sorting into 34 albums, the G-to-X rating system, the trigger warnings, the legal framework, the 120 proof points — is already done. 

   Tom has brought the product to the finish line. He needs a partner to take it the rest of the way. 
 

SECTION 2: THE ASSET —  WHAT TOM JENSEN ACTUALLY OWNS 
   When most artists approach investors or business partners, they bring a demo. They bring a few songs. They bring a dream and a hope and a lot of empty promises. Tom Jensen is bringing something else entirely. 

   He is bringing 29 years of consistent, documented, organized creative output. He began writing poems on a bathroom wall at sixteen years old. He never stopped. Over the course of nearly three decades, he has written lyrics for approximately 434 songs. That is not a typo. Four hundred thirty-four individual sets of lyrics, each one capable of becoming a song, each one already structured with verses, choruses, bridges, and hooks. Some are tender love songs. Some are political firestorms. Some are explicit satires. Some are spiritual meditations. Some are dark confessions of addiction and despair. The catalog covers everything a human being can feel, think, rage about, grieve, laugh at, and screw up. 

   But quantity alone is meaningless without quality. Tom has 120 proof points that his lyrics work. Those 120 songs have already been recorded by musicians from around the world. Singers and instrumentalists from the United States, China, the Philippines, Germany, and elsewhere have taken Tom's words, added their own music, and turned them into real, finished songs. Those songs exist. They are on YouTube. They are on streaming platforms. They are proof that the catalog is not theoretical. And about 50 of those 120 are definitely worth the listen, haha. 

   The catalog is organized into 34 albums — 24 Set Lists and 10 Song Lists. This organization is not arbitrary. Tom has spent years sorting his work by theme, by mood, by explicitness, by emotional arc. The albums are rated from G to X, allowing listeners and musicians to choose their own level of engagement. The G and PG albums are pure: romance, devotion, healing, spirituality. These are the trust-builders. These are the entry points for audiences who need to know that Tom is not just a provocateur. The PG-13 albums are the center of gravity: addiction, politics, war, mental health, social critique. This is where the serious work lives. The R albums go darker: first-person crime narratives, graphic content with artistic framing. The X albums are the edge: pornographic intent, degradation as satire, shock without apology. These are the filters. These are the albums that make sure only serious people stick around. 

The G and PG material alone accounts for approximately 120 songs — an entire career's worth of clean, tender, spiritual work that proves Tom is not just a shock artist. The PG-13 material accounts for approximately 200 songs. The R material accounts for approximately 125 songs. The X material accounts for approximately 50 songs. The distribution is intentional. The center of gravity is PG-13, which means the bulk of the work deals with serious themes in artistically legitimate ways. 

    Tom has also done something that almost no other lyricist has done. He has created a detailed rating system with point values, a quick guide that lets readers start with babies and flowers and work their way toward revenge porn and anal prolapse if they choose, and trigger warnings for every single album. This is not cowardice. This is legal protection and audience respect. It lets people choose their own depth. It protects the vulnerable. It allows the work to be experienced safely. 

   Beyond the lyrics themselves, Tom has already built the legal and operational framework for how these words can be used. The Lyric Use Certificate is a printable form that any musician can fill out to register their use of the lyrics and join the chain of contributors. The attribution agreement is clear: credit Tom, credit all prior contributors, and you own what you add. The blockchain analogy is baked into the system from the ground up. Every contributor is verified. Every contribution is tracked. Every name stays in the chain. 

   Tom has also done the comparative work. He has analyzed his own lyrics alongside thirteen famous songwriters — Bob Dylan, Lou Reed, Leonard Cohen, Tom Waits, Warren Zevon, Patti Smith, Eminem, Kurt Cobain, Bruce Springsteen, Johnny Cash, Weird Al Yankovic, Zack de la Rocha, and Bushwick Bill. The comparisons are not arrogance. They are positioning. They tell potential partners and musicians exactly where this catalog belongs in the lineage of American songwriting. 

   And finally, Tom has the receipts. The cassette tapes that made him awesome. The list of albums from age five to forty that shaped his taste and his craft. Weird Al at five. N.W.A at ten. Pearl Jam at thirteen. Wu-Tang at fifteen. Rage Against the Machine at eighteen. Bob Dylan at twenty. Amy Winehouse at forty. This is not a guy who fell out of a coconut tree. This is a guy who studied the masters and then went into his own cave for 29 years to do the work. 

   The asset is real. The asset is organized. The asset is proven. And the asset is free to use, which is the most radical and strategic decision Tom has made. 
 

SECTION 3: THE BUSINESS MODEL — HOW FREE LYRICS MAKE MONEY 
    The question every investor and business partner will ask is the same: if the lyrics are free, how does anyone make money? The answer requires understanding the difference between the raw material and the finished product. 

    Tom's lyrics are the raw material. They are the trees. They are the free land. Anyone can take them. Anyone can build on them. Tom does not charge for the land. He does not charge for the trees. He does not take a cut of every song that gets built. That is the giveaway. That is the strategy. That is what makes this model impossible for a corporation to buy or own. 

   The money is not in the raw material. The money is in what gets built on top of it. 
A musician takes Tom's lyrics and adds a melody. That melody belongs to the musician. That is their property. Their contribution has value. If someone covers that song, the musician who wrote the melody is entitled to compensation. If the song gets used in a film or a commercial, the musician gets paid. Tom does not touch that money. He does not want it. His words are free. The musician's music is not. 

   A singer adds a vocal performance. That performance belongs to the singer. Their voice, their interpretation, their emotion — that has value. A producer adds an arrangement. That arrangement belongs to the producer. An online audience member suggests a hook during a live stream. The moderator relays it. The hook makes the song better. That audience member is now a contributor. They get a share if the song makes money. 

   The app tracks all of this. Every contribution, every collaborator, every link in the chain is recorded. When a song generates revenue — from streaming, from sync licensing, from covers, from live performances — the app knows who contributed what and how much they are owed. The revenue split is automatic. The system is transparent. The community polices violations because everyone in the chain has a stake in the chain staying honest. 

   This is the inverse of the current music industry. Right now, labels own masters. Lawyers own disputes. Platforms own distribution. The artist gets paid last, if at all. In this model, the artist owns what they make. The contributor gets paid first. The chain ensures that no one can be stripped of their credit or their compensation. 

   Tom's role in this system is unique. He starts the chain. His lyrics are the foundation. He gets credited on every song, every cover, every version, every performance. His name becomes ubiquitous. Not because he demands it, but because the system requires it. Every musician who uses his words must say his name. Every cover of a cover of a cover must include the original lyricist. That is the condition of free use. 

   So Tom's name spreads without marketing spend. His catalog publicizes itself. Every time a musician records one of his songs, they tell their audience where the words came from. Every time a fan discovers a cover, they trace it back to the source. The exposure builds itself because people acting in their own self-interest — wanting credit, wanting credibility, wanting to be associated with good material — will actively share Tom's work. 

   The revenue streams that support Tom and the project come from several places, none of which involve charging for the lyrics themselves. 

   First, there are the live shows. The venue sells tickets, drinks, food, and merchandise. Tom receives a percentage of net revenue from these live appearances. This is part of his ask. The percentage is negotiable, but 10 percent is the starting point. 

   Second, there is the app. The app is not just a tracking tool. It is a community hub. It is where contributors register, where songs are discovered, where collaborations begin. The app could generate revenue through subscription tiers, through featured placements, through a marketplace for musicians seeking lyricists or vice versa. The exact monetization of the app is something the CEO and team will develop, but the essential function — tracking contributions and splitting revenue — is non-negotiable. 

   Third, there are the auxiliary revenue streams that become available once Tom and the project have a following. Patreon for exclusive content and behind-the-scenes access. OnlyFans for the explicit material that has a direct monetization path. Social media ad revenue and sponsorships. Speaking and teaching engagements where Tom talks about 29 years of craft, strategy, and survival. Sync licenses for TV, film, and commercials when Tom's own recordings of his lyrics get placed. Future collaborations with artists who want to work with the guy whose name is on everything. 

   Fourth, there is the long game. Once the free catalog has built Tom's name and proven the value of his work, demand for new material will be high. Tom can then sell exclusive first use of new lyrics for a six-figure or seven-figure payday. He retains the writer credit. He retains the right to use the lyrics himself. But he sells the right to be the first to record them. That is the payday. That is the exit ramp for the free catalog strategy. 

   The core logic of the business model is simple to state but radical to execute: Tom lets every musician in the world turn his 34 albums and 434 songs into their 34 albums and 434 songs. They do the work. They promote their versions. They say his name with every use. The exposure builds itself. And when the demand is proven, Tom has endless paths to monetize — including selling exclusive first use of new work, which is something he has not yet given away for free. 
 

SECTION 4: THE FINANCIAL ASK — WHAT TOM NEEDS TO SAY YES 
    Tom has been clear from the beginning about what he needs. He is not looking to get rich overnight. He is not looking for a mansion or a private jet. He is looking for stability. He is looking for healthcare. He is looking for a life where he can do what he does best — write lyrics and make creative decisions — without worrying about how he is going to pay his bills or afford his next doctor's visit. 
	
    The financial ask is broken down into five components. 
	
- Weekly Salary. Tom is asking for $2,000 per week. This comes out to $104,000 per year. He has said his minimum is $1,500 per week and his ideal range goes up to $5,000 per week. The $2,000 figure is the reasonable midpoint. This salary is guaranteed. It is not dependent on revenue targets or performance metrics. It is what Tom needs to live and work without the constant anxiety of financial insecurity. He has spent too many years with three dollars to his name. That era is over. 

 - Sign-On Bonus. Tom is asking for $30,000 as a one-time upfront payment. He arrived at this number because it is approximately one thousand dollars per album for his 34 albums. He likes the symmetry. He likes the story. The sign-on bonus serves two purposes. First, it is a show of good faith and seriousness from the partner or investor. It proves that they are not wasting his time. Second, it gives Tom immediate financial breathing room to handle whatever personal and professional expenses arise during the launch phase. He has been poor by choice for long enough. The sign-on bonus is a recognition that his 29 years of work have value that has never been monetized. 

- Healthcare. Tom is asking for $1,000 per month to cover health insurance. He currently has coverage through the state of Maine, but he does not want to do this project in Maine. He is willing to relocate to almost anywhere in the continental United States, Hawaii, or a vacation destination. However, if he takes full-time employment out of state, he will lose his Maine coverage within a certain window of time. The $1,000 per month estimate is for a new health insurance plan in whatever state the project launches. Healthcare is not negotiable. Tom has watched people die. He has watched Lady Weaver die of cancer. He is not willing to risk his own health for a business venture that cannot provide basic medical coverage. 

- Percentage of Revenue. Tom is asking for 10 percent of net revenue from live shows, streaming, sync licensing, and any other revenue streams generated directly by the project. He has said this percentage is negotiable. He cares more about healthcare, salary, and the sign-on bonus than he does about the exact percentage. But the percentage matters because it aligns his incentives with the success of the project. If the project does well, Tom does well. If the project struggles, Tom still has his salary and healthcare, but his upside is limited. That is the right balance for someone who has already done 29 years of uncompensated work. 

- The Citizenship Requirement for an ESSENTIAL team member. The ONLY team member other than the cat!!! This is not a financial ask. It is a deal-breaker. One specific person who is essential to this project must obtain full United States citizenship. This person has been in the country for decades. They have done everything right. They were on track to being completely legal but have recently been told different answers than previously. This person speaks eloquent English, has a drivers license and pays taxes and works full-time having the immigrant mentality this country was founded on. They have been rejected for reasons that make no sense. Tom will not move forward without this person being secured. He does not care how it happens. Lawyers. Sponsors. Immigration experts. Connections. Tony Soprano style if that is what it takes. The CEO's job includes figuring this out. If the CEO cannot or will not, Tom will take the project elsewhere or follow this person to whatever country they end up in. That is how non-negotiable this is. This will all be waste of time and effort if I gotta just get up and leave because somebody somewhere made a bad decision. 
 

SECTION 5: THE TEAM STRUCTURE — WHO DOES WHAT 
    Tom is not looking to run a business. He has said this repeatedly. He does not want to be the CEO. He does not want to be the face. He does not want to handle operations, fundraising, legal compliance, venue management, app development, or any of the other million tasks that come with building an organization from the ground up. 

   What Tom wants to do is write lyrics, make creative decisions, and show up four nights a week to make music live with musicians and audiences. That is his zone. That is what he is good at. That is what he has been doing for 29 years. Everything else needs to be handled by other people. 

   The CEO Role. Tom is looking for a fellow visionary with operational skills. This person must have strong business and people backgrounds. They must be an adult — Tom's word — meaning someone who can keep the train on the tracks, handle the chaos, and manage the eccentric wild man that Tom openly admits to being. The CEO will be the face of the project. They will talk to investors. They will talk to venue owners. They will talk to the press. They will handle the things that Tom cannot or will not handle. 

   The CEO is not getting equity. Tom has made that clear. The basis of the project is giving words away for free. The value is not in exclusive ownership. The value is in the chain. Equity does not make sense in this model. Instead, the CEO will be compensated through three mechanisms. First, a percentage of revenue from the project. The exact percentage is negotiable and will depend on the CEO's level of involvement and the capital they bring. Second, the ability to create a non-profit or donation-based arm of the project that the CEO can run for additional salary. Tom has noted that this project is almost half charity as it is, so a non-profit component fits the ethos. Third, an operational budget that the CEO controls for hiring staff, managing the venue, and running day-to-day operations. 

   The CEO must have connections. Tom said it plainly: "I need somebody who knows people who can make things happen. It can be Tony Soprano style. I don't give a fuck." The CEO does not need to be a saint. They need to be effective. They need to be able to get the citizenship secured. They need to be able to find a venue. They need to be able to raise money or bring their own capital. They need to be able to build a team. 

   The Team. Tom wants a team, not just one person. The CEO will build that team. The team will include a venue manager, an app developer or development firm, a social media and marketing person, a bookkeeper or accountant, and possibly a moderator for the online audience during live streams. The size and composition of the team will depend on the scale of the launch and the revenue the project generates. But Tom does not want to be a solo operation anymore. He has been a lone wolf for 15 years. He wants people around him. 

   Tom's Role. Tom will work four nights a week, give or take. Three nights off. He will be present at the venue during live shows. He will participate in the creation of songs. He will make creative decisions about which lyrics to use, which musicians to feature, which directions to explore. He will not handle operations. He will not manage staff. He will not answer emails from investors. He will be the creative director, the lyricist, the eccentric wild man that the CEO manages and protects. 

   Tom has also been clear that he does not want to be the face of the project. He is happy to be a ghost. He is happy to be the fat guy who writes the books while someone else is the dragon queen on screen. He needs to be just famous enough to make a living, but he does not need or want the spotlight. The CEO can have the spotlight. The musicians can have the spotlight. Tom will be in the background, writing the next set of lyrics, coming up with the next song idea, and showing up four nights a week to scratch lottery tickets with whoever wants to scratch with him. 
 

SECTION 6: THE APP — WHAT IT DOES AND WHAT IT COSTS 
   The app is essential to the business model. Without the app, tracking contributions and splitting revenue is a nightmare of paperwork, disputes, and broken promises. With the app, the system is automated, transparent, and enforceable. 

   Tom does not know how to build an app. He has been honest about that. He does not know what it costs. He does not know who to hire. He does not know the difference between native and web-based. That is not his job. His job is to describe what the app needs to do. The CEO and the development team will figure out how to build it. 

   What the App Must Do. The app must allow users to register with their name, role, and contact information. The app must allow users to select which lyrics they are using. The app must allow users to specify what they contributed — melody, vocals, arrangement, production, lyric changes, translations, or any other form of contribution. The app must create a permanent, timestamped record of every contribution and every contributor. The app must generate a chain of ownership that shows, for any given song, who contributed what and in what order. The app must calculate revenue splits automatically based on contribution size and type. The app must integrate with streaming platforms, sync licensing databases, and payment systems to distribute revenue to contributors. The app must have a dispute resolution mechanism that defaults to a neutral third party agreed to by both sides before any dispute arises. The app must be accessible on mobile devices, tablets, and desktop computers. 

   What the App Could Do. The app could include social features that allow musicians to find each other and collaborate. The app could include a discovery engine that recommends lyrics to musicians based on their style and preferences. The app could include a live component that integrates with the venue's streaming system, allowing online audience members to submit suggestions that get logged as contributions in real time. The app could include gamification elements that reward frequent contributors with badges, recognition, or higher revenue shares. The app could include a marketplace where musicians can offer their services — vocals, instrumentation, production — to other users. 

   Estimated Cost. Based on industry standards for custom app development, a fully functional version of this app with all essential features and some of the desirable features will cost between $50,000 and $100,000. This estimate assumes a development timeline of three to six months, a small team of developers (two to four people), and a scope that prioritizes the contribution tracking and revenue split functionality over bells and whistles. The estimate could go higher if the app requires blockchain integration, real-time streaming features, or complex payment processing. The estimate could go lower if Tom and the CEO are willing to launch with a minimum viable product that replaces some app functions with manual systems. 

   Timeline. The ideal scenario is to have the app built and tested before the venue launches. That way, from night one, every contribution is tracked, every contributor is registered, and every revenue split is automated. If the budget or timeline does not allow for the app to be ready before the launch, Tom is open to a paper-based or email-based registration system during the initial phase. Musicians and audience members would fill out forms. Tom or a staff member would log the contributions manually. The app would be built alongside the live shows and integrated as soon as it is ready. This is not ideal, but it is workable. 

 
SECTION 7: THE VENUE — WHERE THE LOTTERY TICKETS GET SCRATCHED 
   The venue is where the magic happens. It is the physical space where musicians come to make music live, where audiences watch and participate, where the online stream connects remote contributors to the room, and where the revenue that supports the project gets generated. 

   Tom has already done the groundwork. Book Two of the Collaborhythm Collabtunes project includes a list of 127 bars, restaurants, theaters, and music venues across Massachusetts — from Salem to Lynn to Marblehead to Boston. These are the initial targets. They are close to public transportation. They have existing infrastructure for live music. They are within driving distance of Tom's current location. But Tom is not married to Massachusetts. He is open to anywhere in the continental United States, Hawaii, or a vacation destination. The only state he has ruled out is Maine, where he currently lives and receives healthcare. He does not want to do the project there. 

   The Venue Concept. The venue is not a traditional music venue where bands come to play their finished songs. It is a creative laboratory where musicians come to make new songs from scratch. Tom's lyrics are the starting point. A musician or group of musicians takes a set of lyrics and begins to improvise. The audience watches. The audience shouts out suggestions. An online moderator relays suggestions from the live stream. The song takes shape in real time. By the end of the night, a new original song exists. It is recorded. It is uploaded. It is registered in the app. And everyone who contributed gets credit and a potential share of future revenue. 

   The venue can be as small as a coffee shop or as large as a theater. The essential requirements are a stage, sound equipment, a streaming setup, seating for the audience, and a bar or kitchen that generates revenue from food and drink sales. The venue does not need to be owned by the project. A partnership or rental agreement with an existing venue is fine. The important thing is that the venue is hospitable, flexible, and supportive of the creative chaos that will happen there. 

   The Horizontal Revenue Philosophy. Tom has been explicit about his pricing philosophy. He does not want to charge $1,000 to 100 people. He wants to charge $10 to 10,000 people. He does not want an exclusivity barrier. He does not want to squeeze his audience. He wants the project to be accessible. This means ticket prices should be low. Drinks and food should be reasonably priced. Merch should be affordable. The revenue comes from volume, not from high margins. The goal is to get ten dollars from ten thousand people, not a thousand dollars from a hundred people. 

   This philosophy extends to the online audience. The live stream should be free or very cheap to watch. The revenue comes from the venue's physical sales, from donations, from Patreon subscriptions, from the app's premium features, and from the long tail of sync licensing and streaming royalties. The project does not need to gouge its audience to survive. It needs to build a large, loyal, engaged community that wants to participate because the experience is unique and the potential upside is real. 

   The Non-Negotiables. The venue cannot be corporate-owned. Tom does not want shareholders. He does not want a board of directors. He does not want private equity. The venue and the project should be owned and controlled by the people doing the work — Tom, the CEO, the team, and the community of contributors. If a corporation tries to buy in, the answer is no. If a corporation tries to claim exclusive rights to a song built from Tom's lyrics, they lose permission to use the lyrics entirely. That is in the license. That is enforceable. That is the shield that protects the project from being swallowed by the system it is trying to disrupt. 
 

SECTION 8: LEGAL & PROTECTIONS — HOW THIS STAYS SAFE 
    Tom has thought about legal risks more than most artists. Book Two includes a section called "Can I Get Sued?" with direct answers about defamation, incitement, obscenity, and copyright. The verdict is no police action and low civil exposure, provided the trigger warnings are used and the attribution requirements are followed. 

   But there are other legal considerations that go beyond the content of the lyrics. 
Copyright Registration. Before releasing anything, Tom has registered his lyrics with the U.S. Copyright Office. Group registration is cheap. It establishes a public record of his ownership. It is the foundation for enforcing the attribution requirement. 

   Non-Exclusive Licenses Only. Tom never gives exclusive rights to anyone. He can give a thousand people permission to use the same lyric. He can give a million people permission. Exclusivity is what allows corporations to buy up catalogs and extract profit from artists. Tom has structurally prevented that by making non-exclusivity a core term of the license. 

   Mandatory Attribution. Every use of Tom's lyrics must include the credit line: "Lyrics by Collaborhythm Collabtunes' Tom Jensen." This is not optional. It is not a suggestion. It is a condition of use. If someone strips Tom's name from the chain, they lose permission to use the lyrics. The community polices this. The app enforces it. The license backs it up. 

   The Chain of Ownership. The app creates a permanent record of every contributor and every contribution. This record is timestamped. It is verifiable. It is the basis for revenue splits and dispute resolution. If someone claims they contributed something they did not, the app has the truth. If someone tries to cut a contributor out of their share, the app proves they were there. 

   Dispute Resolution. Disputes between contributors go to a neutral third party with expertise in music rights. This third party is agreed to by both sides before any dispute arises. No label lawyers. No retainers. No settlements eaten alive by fees. The process is designed to be fast, fair, and affordable. 

   The Citizenship Requirement. This is not a legal protection for the project. It is a condition of Tom's participation. The essential person must obtain U.S. citizenship. Tom does not care how. The CEO is responsible for figuring it out. Without this, there is no deal. 

   Liability Protection. Tom has asked for limited liability. He does not want to be the responsible one. He wants to be the eccentric wild man who writes lyrics and makes creative decisions while the CEO handles the legal and financial risks. This means the project should be structured as an LLC or similar entity where Tom is an employee or contractor, not the owner or manager. His personal assets should be protected. His exposure should be limited to his salary and his percentage of revenue. The CEO and the entity take the liability. 
 

SECTION 9: THE EMOTIONAL ARC — WHY THIS EXISTS AND WHY NOW 
   This section is not sentimental. It is strategic. Investors and partners need to understand why Tom is doing this, why he has waited so long, and why now is the right moment. 	Tom heard Bob Dylan's "Like a Rolling Stone" in the car with his father when he was seventeen years old. They were driving to the laundromat. In that moment, Tom knew what he wanted to spend his life doing: coming up with great song ideas. He could not sing. He could not play an instrument. But he could write. So he wrote. For 29 years. He made 120 songs with musicians from around the world using YouTube as his platform. He built a following. He had 10,000 subscribers. He was on his way. 

   Then he fell in love. The woman was a musician. Tom calls her Lady Weaver. He compares her to Alanis Morissette's Jagged Little Pill — one album worth of music that is all amazing, all timeless, all proof of a talent that comes along once in a generation. Tom courted her. He traveled to her. He stayed for three months. It did not work out. He came back broken. 

   For the next fifteen years, Tom disappeared. He deleted his YouTube channels. He stopped making music. He stopped showing his face. He wrote. He kept writing. But he did not share. He hung out with his cats. He smoked weed. He drank. He was a loser, by his own admission, for a long time. 
Then Lady Weaver died. Cancer. She left behind a young adult son and three babies. Tom found out from her mother via email. That was two and a half years ago. It messed him up. But it also clarified something. 

   The entire free lyric, blockchain, profit-from-the-bottom-up idea was cemented in her honor. Tom took the most devastating thing that ever happened to him — losing the woman he loved — and built something hugely positive out of it. The system that pays the people who actually make the music, that credits every contributor, that keeps the chain moving and the money flowing to the bottom instead of the top — that system exists because of Lady Weaver. If one thing comes from all of this, Tom wants the world to finally hear her music. 

   The fifteen years of hiding turned out to be a gift. Tom did not stop creating. He wrote Set List 22, Set List 23, and Set List 24 in the last two years alone. He refined his catalog. He sorted it into 34 albums. He built the rating system. He wrote the trigger warnings. He did the legal research. He came out of the cave with something massive, something organized, something ready. 

   Now he is 47 years old. Nobody knows who he is. And that is exactly the right moment to launch. Because he has 29 years of work that no one has seen. He has 120 proof points that the work is good — and about 50 of those are definitely worth the listen. He has a catalog that covers everything a human being can feel. He has a strategy that no one else is running. And he has the emotional clarity that comes from losing the person who mattered most and deciding to build something in her memory instead of collapsing into nothing. 

   Tom is not trying to change the world anymore. He lost that passion. But he is trying to give the people who still have passion — the musicians, the singers, the believers — a place to start. He has done the writing. They do the rest. And if something hits, everyone wins. 
That is the emotional arc. That is why this exists. That is why now. 
 

SECTION 10: TIMELINE & MILESTONES 
   Tom's personal deadline is April 2026. That is when he is tying up all the loose ends on Book One and Book Two. That is when he is ready to show the project to potential partners and investors. That is when the search for the CEO and the venue begins in earnest.

   The timeline after that is flexible but should follow these milestones. 

Month One to Three (April 2026 to July 2026). Find the CEO. This is the top priority. The right CEO will have connections, capital, and the ability to handle the citizenship requirement. Tom is open to talking to anyone who can make things happen. He does not care about their background or their methods as long as they are effective and they respect the non-negotiables. 

Month Three to Six (July 2026 to October 2026). Secure the citizenship for the essential person. This runs in parallel with everything else. It cannot wait. It cannot be postponed. The CEO must make this happen or the deal is off. 

Month Three to Six (July 2026 to October 2026). Secure the venue. The list of 127 Massachusetts venues is a starting point, but Tom is open to other locations. The venue should be flexible, hospitable, and supportive of the live song creation concept. A partnership or rental agreement is fine. Ownership is not required. 

Month Three to Nine (July 2026 to January 2027). Build the app. The estimated cost is $50,000 to $100,000. The development timeline is three to six months. If the budget is not available for a full build, a minimum viable product with manual tracking can be used at launch, with the full app following soon after. 

Month Nine to Twelve (January 2027 to April 2027). Soft launch the venue. Test the live song creation process with a small audience. Work out the kinks in the streaming and moderation system. Train the team. Get feedback from musicians and audience members. Adjust as needed. 

Month Twelve (April 2027). Full launch. The venue is open. The app is running. The stream is live. The lottery tickets are being scratched. Tom is there four nights a week. The CEO is running operations. The team is in place. The project is alive. 

Ongoing. Tom continues to write. He is not done. He has 434 songs or songs-to-be in the catalog right now. But the 435th, the 436th, the 500th — those are not free. Those are the future. Those are the payday. 
 

SECTION 11: THE 35TH ALBUM — WHERE THE REAL MONEY COMES FROM 
   This is the most important section of the business plan for any investor or partner who wants to understand the long-term financial upside. Tom has been very clear about this, and it is easy to miss if you are not paying attention. 

   The 434 songs or songs-to-be are free. Every lyric in the 34 albums that currently exist — every word of every G-rated love song, every PG-13 political rant, every X-rated sexual satire — is available for anyone to use at no cost, with no royalties, with no permission needed. That is the giveaway. That is the strategy. That is the loss leader. 

   The 35th album is not free. Tom has not written it yet. He has not released it yet. He has not given it away. And he will not. The 35th album is where Tom makes his real money. The 35th album is the exclusive product. The 35th album is what he sells to the highest bidder after the first 34 albums have made his name ubiquitous. 

Here is how it works:

Step one: Tom releases the 34 existing albums for free. Musicians around the world record his lyrics. His name spreads. His catalog becomes known. The lottery tickets get scratched. Some of them hit. Maybe one song goes viral. Maybe ten songs go viral. Maybe a major artist covers a Collaborhythm song and credits Tom Jensen. The exposure builds itself. 

Step two: Demand for new Tom Jensen lyrics skyrockets. Every musician who has used his words wants more. Every label that has noticed his catalog wants to sign him. Every publisher wants to represent him. But Tom has not written anything new for public consumption since he released the 34 albums. He has been waiting. He has been strategic. 

Step three: Tom announces that he has written a 35th album. Twelve new songs. Brand new lyrics. Never seen before. Never released. Never given away. And this album is not free. This album is for sale. But not to the public. To a partner. To a label. To a publisher. To a wealthy investor. To anyone who wants exclusive first use of the next chapter of the Collaborhythm catalog. 

Step four: The bidding begins. Tom is not looking for a traditional publishing deal where he gives up his rights forever. He is looking for a one-time, upfront payment for exclusive first use of the 35th album. The buyer gets to be the first to record these lyrics. They get to be the first to release them. They get to be the first to profit from them. But Tom retains the writer credit. Tom retains the right to use the lyrics himself after a certain period of time or under certain conditions. And Tom retains the right to release a 36th album, and a 37th, and a 38th, under whatever terms he wants. 
	
   The price. Tom has mentioned six-figure and seven-figure paydays. A realistic target for the 35th album, given the proven quality of the first 34 albums and the exposure the free catalog will generate, is between $100,000 and $1,000,000. The exact price depends on how viral the free catalog becomes, how many musicians use Tom's words, and how much demand exists for new material at the moment Tom announces the 35th album is available. 

    Why this works. The 34 free albums are not a charity. They are marketing. They are proof. They are the loss leader that builds the brand. By the time Tom announces the 35th album, his name will be on thousands of songs. His lyrics will have been streamed millions of times. His catalog will have been validated by the market. And the person or entity that buys the 35th album is not buying a gamble. They are buying a proven commodity with a built-in audience and a track record of success. 

    The auxiliary revenue streams. The 35th album is the big payday, but it is not the only payday. Tom has listed multiple auxiliary revenue streams that become available once the project has a following.

Donations through GoFundMe or direct fan support.

Patreon subscriptions for exclusive content, behind-the-scenes access, and early releases. 

OnlyFans for the explicit material that has a direct monetization path.

Social media ad revenue and sponsorships.

Streaming royalties from Tom's own recordings of his lyrics. 

Sync licenses for TV, film, and commercials.

Speaking and teaching engagements where Tom talks about 29 years of craft, strategy, and survival.

Future collaborations with artists who want to work with the guy whose name is on everything. 

    The 35th album is the anchor. The auxiliary streams are the safety net. Together, they create a financial picture that supports Tom's salary, healthcare, and lifestyle without requiring him to charge for the 434 songs that are already written. 
 

SECTION 12: NON-NEGOTIABLES & DEAL-BREAKERS 
    Tom has been honest from the beginning about what he will and will not accept. This section is not a negotiation. It is a list of conditions that must be met for Tom to say yes to any partner, investor, or CEO. 

1. Citizenship for the essential person. This is the top of the list. Tom has said it is non-negotiable. He has said it is the first thing any potential partner should figure out before even talking to him. One specific person who is essential to this project must obtain full United States citizenship. This person has been in the country for decades. They have done everything right. They have been on waiting lists. They have been rejected for reasons that make no sense. Tom does not care how it happens. Lawyers.
Sponsors. Immigration experts. Connections. Tony Soprano style if that is what it takes. The CEO's job includes figuring this out. If the CEO cannot or will not, Tom will take the project elsewhere or follow this person to whatever country they end up in. 

2. Healthcare coverage. Tom currently has coverage through the state of Maine. He does not want to do this project in Maine. If he takes full-time employment out of state, he will lose his Maine coverage within a certain window of time. The project must provide healthcare coverage or the funding for Tom to purchase his own plan. The estimated cost is $1,000 per month. This is not negotiable. 

3. No corporate or shareholder ownership. The venue and the project cannot be owned by a corporation with shareholders. Tom does not want private equity. He does not want a board of directors. He does not want anyone who is primarily motivated by quarterly earnings reports. The project should be owned and controlled by the people doing the work — Tom, the CEO, the team, and the community of contributors. If a corporation tries to buy in, the answer is no. 

4. No exclusivity barrier. Tom's pricing philosophy is horizontal, not vertical. He wants to charge $10 from 10,000 people, not $1,000 from 100 people. He does not want expensive tickets. He does not want to squeeze his audience. The project should be accessible. The live stream should be free or very cheap. The venue should be affordable. The revenue comes from volume, not from high margins. 

5. No Maine. Tom does not want to do this project in Maine. He is open to anywhere else in the continental United States, Hawaii, or a vacation destination. But not Maine. 

6. Tom is not the face. Tom does not want to be the public figure for this project. He is happy to be a ghost. He is happy to be the eccentric wild man behind the curtain. He needs to be just famous enough to make a living, but he does not need or want the spotlight. The CEO can have the spotlight. The musicians can have the spotlight. Tom will be in the background, writing the next set of lyrics and showing up four nights a week to make music. 

7. Limited liability for Tom. Tom has asked to be compartmentalized. He does not want to be the responsible one. He wants to be the crazy artist that the CEO manages and protects. This means the project should be structured as an LLC or similar entity where Tom is an employee or contractor, not the owner or manager. His personal assets should be protected. His exposure should be limited to his salary and his percentage of revenue. 
 

SECTION 13: TOM IS FOR HIRE — THE BIDDING WAR CLAUSE 
   This section exists because Tom wants to be very clear about something that might get lost in all the talk about free lyrics and blockchain and artistic integrity. 
Tom is open for business. 

   He has spent 29 years writing lyrics for himself. For his own catalog. For his own vision. For Lady Weaver and for the chain and for the lottery ticket concept. That work is done. That work is free. That work belongs to the world now. 

   But Tom is not dead. He is not retired. He is not finished writing. He is 47 years old and he has decades of rhymes left in him. Well, one decade. Only one. And he is very open to writing exclusively for an artist, a talent, a producer, a label, or anyone with a specific idea or project in mind. 

Here is how it works. 

   The Assumption. Tom assumes — and he believes this is reasonable based on the quality and range of his existing catalog — that there will be demand for his services as a lyricist and songwriter. Not for the free lyrics. Those are already out there. But for new, exclusive, never-before-seen lyrics written specifically for a particular artist or project. 

   He assumes that once the 34 albums are released and musicians around the world start recording his words and his name starts spreading, people will want to work with him directly. They will want lyrics tailored to their voice. They will want songs written for their album. They will want the Tom Jensen touch on their project. 

   He assumes that this demand could create something beautiful: a bidding war between rich people with too much money and too much time on their hands. 

The Bidding War. 

Tom is not naive. He knows that the music industry is full of people with deep pockets who collect artists like baseball cards. He knows that labels and publishers and wealthy investors sometimes throw money at talent not because they understand the art but because they want to own it. He is fine with that. He will cash the check. He will do his best. He will write the best lyrics he can write, regardless of who is paying or why. 

   If two rich people want to bid against each other for the right to have Tom write exclusively for their artist or their project, Tom will not stop them. If three rich people want to get into a bidding war, even better. Tom will sit back, let them fight, and cash the biggest check. 

Even If It Is Country. 

   This is Tom's own addendum. He has said multiple times that he is allergic to country music. He has said his psychiatrist told him so. He has said his rhymes work better with a Boston accent and might not even rhyme if sung on Confederate soil. But he is also a professional. And professionals do the work. 

   So if a country artist wants Tom to write for them, Tom will write for them. He will learn the tropes. He will study the rhyme schemes. He will figure out how to make his words work with a twang. He will not complain. He will not sabotage. He will do his best. 

   The same goes for pop. The same goes for hip-hop. The same goes for EDM. The same goes for children's music. The same goes for commercial jingles. Tom is not precious. He is not a purist. He is a writer. Writers write. 

   The Terms. Exclusive writing for an artist or project means the lyrics are not free. They are not part of the 34 albums. They are not given away to the world. They belong to the person or entity that paid for them, under whatever terms are negotiated. Tom retains the writer credit. Tom retains the right to use the lyrics in certain contexts if agreed upon. But the exclusive first use, and possibly the exclusive permanent use, belongs to the buyer. 

   The price is negotiable. Tom has mentioned six-figure and seven-figure paydays for the 35th album. For exclusive writing for a single artist or project, the price could be lower or higher depending on the scope and the buyer's desperation. Tom is open to discussion. He is not greedy. But he is also not desperate. He has 434 songs that are already free. He does not need to sell his new work cheap. 

   Why This Matters for the Business Plan. This section matters because it changes the risk profile for investors and partners. The free catalog is the foundation. The live venue and the app are the engine. But the exclusive writing work is the upside. It is the variable. It is the thing that could turn a sustainable project into a very profitable one. 

   If Tom becomes known as the lyricist who wrote the bisexual anthem, who wrote the political firestorms, who wrote the tender love songs and the explicit satires and the spiritual meditations, then artists will want to work with him. Labels will want to sign him. Rich people with too much money will want to own a piece of him. 

   Tom will let them. He will cash the check. He will do his best. And then he will go back to his four nights a week at the venue, scratching lottery tickets with whoever wants to scratch with him. 
 

SECTION 14: ONE DECADE LEFT — THE URGENCY CLAUSE 
   Tom wants to be very clear about something that might get lost in the enthusiasm of the business plan. 

He has one more decade of rhymes left. Only one. 

    He is 47 years old. He has been writing lyrics for 29 years. That is a long time. That is a career. That is more than most songwriters ever produce. But Tom is realistic about his own creative lifespan. He knows that the well does not run forever. He knows that the fire eventually dims. He knows that there will come a day when the rhymes do not come as easily, when the ideas do not flow as freely, when the energy required to write a song feels like too much. 

That day is not today. But it is coming. 

    Tom estimates that he has approximately ten more years of active, consistent, high-quality lyric writing left in him. That is not a threat. That is not a negotiation tactic. That is an honest assessment from a man who has been doing this for nearly three decades and knows his own limits. 

    What this means for the business plan. The ten-year timeline changes everything. It means the project cannot afford to move slowly. It means the CEO cannot spend two years fundraising and another year building the app and another year finding the venue. By the time all that happens, Tom will be 50 years old with only seven years left. That is not enough time to build what needs to be built. 

The project needs to launch now. Or within months. Not years. 

   What this means for the 434 songs. The existing catalog is not going anywhere. Those 434 songs or songs-to-be are finished. They are written. They are sorted. They are rated. They are ready. They will still be there in ten years, and in twenty years, and in fifty years. They are Tom's legacy. They are the lottery tickets that will keep getting scratched long after Tom has stopped writing new ones. 

   But the new work — the 35th album, the exclusive writing for artists, the lyrics that have not been written yet — those have a deadline. Tom has one decade to produce them. After that, the well is dry. 
What this means for potential partners. If you are considering working with Tom, do not wait. Do not assume you have time. Do not put this project on the back burner while you focus on other things. Tom is not going to be young forever. He is not going to be productive forever. He is not going to be alive forever. 

He has one decade of rhymes left. Only one. 

   If you want to be part of that decade, if you want to be the CEO who helps him build this project, if you want to be the artist who gets exclusive lyrics from him, if you want to be the investor who backs the 35th album — you need to act now. 

Not next year. Not in two years. Now. 

   What this does NOT mean. This is not a cry for help. This is not a threat to withdraw the free catalog. This is not a ploy to create false urgency. Tom is not going to stop writing on his 58th birthday whether he wants to or not. He is simply being honest about his own creative limitations. 

He has given the world 29 years of work for free. He has 434 lottery tickets waiting to be scratched.

   He has one more decade to write the next chapter. After that, the pen goes down. The rhymes stop. The catalog is complete. 
That is the truth. Tom wanted you to know it. 
 

SECTION 15: THE ASK — WHAT TOM WANTS FROM YOU 
   If you are reading this business plan, you are either the CEO Tom is looking for, an investor who wants to back the project, or a partner who can help make one of the non-negotiables happen. Here is what Tom wants from you. 

   If you are the CEO. Tom wants you to have connections. He wants you to be able to make things happen. He wants you to be an adult who can keep the train on the tracks and manage the chaos. He wants you to handle the citizenship requirement. He wants you to find the venue. He wants you to raise money or bring your own capital. He wants you to build the team. He wants you to be the face of the project. He wants you to take the liability. He wants you to protect him from himself. In return, you get a percentage of revenue, the ability to create a non-profit arm for additional salary, and the operational budget to run the project. You do not get equity, because equity does not make sense in a project where the core asset is given away for free. 

   If you are an investor. Tom wants you to understand that this is not a typical investment. You are not buying equity. You are not getting a share of the copyrights. You are not getting a guaranteed return. What you are getting is the satisfaction of helping build something that has never been built before. You are getting a percentage of revenue from the live shows, the app, and the auxiliary streams. You are getting first look at the 35th album if you want it. And you are getting the chance to be part of a project that could change how musicians get paid. If you need a traditional return on investment with a five-year exit and a multiple, this is not the project for you. If you want to be part of something meaningful and are willing to accept a longer timeline and a smaller financial return in exchange for that meaning, Tom wants to talk to you. 

    If you are a partner who can help with the citizenship requirement. Tom wants you to know that this is the most important thing. Without this person secured, nothing else matters. If you are a lawyer who specializes in immigration, a sponsor who can vouch for this person, or someone with connections who can make the bureaucracy move faster, Tom wants to hear from you immediately. He is not exaggerating when he says he will follow this person to whatever country they end up in. The project goes where they go. 
 

SECTION 16: CLOSING STATEMENT 
   Tom Jensen has spent 29 years writing lyrics. He has 434 songs or songs-to-be in his catalog. One hundred twenty of them have already been recorded by musicians from around the world — and about 50 of those are definitely worth the listen, haha. The rest are waiting for music, waiting for voices, waiting for the right person to scratch the lottery ticket. 

   He does not sing. He does not play instruments. He writes words. That is all he does. And now he is giving those words away for free. 

   The business is not the words. The business is what happens when the words become songs. The business is the live venue where musicians and audiences create original music together. The business is the app that tracks every contribution and splits every dollar. The business is the 35th album that Tom has not written yet, the one he will sell for six or seven figures after the first 34 albums have made his name ubiquitous. 

   Tom needs a CEO. He needs a venue. He needs a team. He needs healthcare, a weekly salary, a $30,000 sign-on bonus, and a percentage of revenue. And he needs, non-negotiable and at the top of his list, full United States citizenship for one specific person who is essential to this project. 

   He has brought the product to the finish line. He has done the 29 years of work. He has sorted the 34 albums. He has built the rating system. He has written the trigger warnings. He has created the legal framework. He has the 120 proof points. He has the catalog. 

   He has one more decade of rhymes left. Only one. 

Now he needs someone to take it the rest of the way. 

   The lottery tickets are sitting there. Four hundred thirty-four of them. Most have never been scratched. Tom wants a place where people can come scratch them together. And he wants everyone who helps to get a piece of whatever they find. 

Who wants to scratch a ticket with Tom before his decade runs out? 
 

UPDATED FINAL SUMMARY 
    Tom Jensen has 434 songs or songs-to-be. He has 34 albums. He has 120 already recorded — and about 50 of those are definitely worth the listen, haha. He has 29 years of work. He has one more decade of rhymes left. Only one. 

    He wants a venue. He wants a CEO. He wants healthcare, a salary, a sign-on bonus, a percentage of revenue, and citizenship for one specific person. 

   He will work four nights a week. He will write exclusively for artists who pay him. He will even write country if the check clears. He will let rich people bid against each other for the privilege of working with him. 

But he will not wait forever. He does not have forever. He has one decade. 

    The lottery tickets are sitting there. Four hundred thirty-four of them. Most have never been scratched. Who wants to scratch a ticket with Tom before his decade runs out? 

As GREAT as all this is….. PLEASE REMEMBER…...The goal is bottom-up profit starting with the artists, musicians, songwriters, band first and rippling out from there… Don’t be the Bill Burr of MUSIC!!!!!!!!!!!!!!!!!! (NOTE: That burn was STREETS AHEAD!)
 
Contact: Tom Jensen — collaborhythmtom@gmail.com — (978) 595-3497 — collabtunes.com 
 
END OF COMPLETE BUSINESS PLAN 
 

    Tom Jensen does not sing. He does not play instruments. He does not produce. What he does is write words. That is all he has done for 29 years. And now he is giving those words away for free to anyone who wants to make music with them.
     The only requirement for using any lyric in this catalog is that you credit the source. Every use, every recording, every cover, every performance must include the line: "Lyrics by Collaborhythm Collabtunes' Tom Jensen." That is it. No royalties. No permission needed. No lawyers. The words are free.
     But here is where the business plan begins, not ends. Because free words are not a business. The business is what happens when those words become songs — made in public, with an audience, with a live stream, with an app that tracks every contribution and every contributor so that when a song makes money, everyone who helped make it gets paid.
     The vision is simple to state but radical to execute: a physical venue, ideally a bar or coffeehouse or music room, where musicians come to make original songs live on the spot using Tom's lyrics as their raw material. The audience watches. The audience participates. An online audience watches a live stream and participates through a moderator. Every person who contributes anything to the song — a melody suggestion, a chord change, a lyric tweak, a vocal performance, an arrangement idea — gets registered in the app. If that song ever generates revenue, from streaming or sync licensing or covers or anything else, the revenue is split among all contributors according to their level of participation.

    This is the lottery ticket concept. Tom has 434 lottery tickets. Most have never been scratched. He wants a place where people can come scratch them together. And he wants everyone who helps scratch to get a piece of whatever they find.
   Tom is not looking to become a billionaire. He is not looking to become the face of a global brand. He is looking for a few specific things that he has been honest about from page one of Book Two. He wants a live venue where this can happen. He wants a CEO — a fellow visionary with operational skills — to build and run the business while Tom focuses on creative decisions. He wants healthcare. He wants a weekly salary. He wants a sign-on bonus. He wants a percentage of revenue from live appearances and anything else this project generates. And he wants, non-negotiable and at the top of his list, full United States citizenship for one specific person who is essential to this project.
    The business model is horizontal, not vertical. Tom does not want to charge $1,000 to 100 people. He wants to charge $10 to 10,000 people. He does not want an exclusivity barrier. He does not want corporate shareholders. He does not want to become the thing he has spent 29 years critiquing. He wants to build something that pays the people who actually make the music, that stays accessible to the people who want to participate, and that honors the memory of Lady Weaver — the greatest musician Tom ever encountered, whose death cemented this entire free-license, bottom-up revenue system in her honor.
     This is not a charity. This is strategy. This is a business plan for a project that has already proven it can work — 120 songs, 120 verified contributors, a chain of ownership that already exists without a label, without a lawyer, without a middleman. The app needs to be built. The venue needs to be found. The CEO needs to be hired. The citizenship needs to be secured. But the hard part — the 29 years of writing, the sorting into 34 albums, the G-to-X rating system, the trigger warnings, the legal framework, the 120 proof points — is already done.
Tom has brought the product to the finish line. He needs a partner to take it the rest of the way.

(J) WHAT ELSE CAN I / WE DO?
     THE FOLLOWING IS A TURBOSCRIBE TRANSCRIPT OF A 28-MINUTE TALK INTO THE VOICE RECORDER. I give some other samples of my talks so that you can get a feel for how I speak not just how I write. My speaking used to be better than my writing. If my writing gets an A-/B+ now and probably then, too…. My speaking now is about a C+ level. 
 Okay, whoever is listening, we are discussing some other possible things, ideas, business ideas that we can do regarding my skills, my talent, and my collection of lyrics and song-making endeavors, possibilities we are thinking along the lines of. I have, oh my goodness, probably 2,000, 1,500 shitty poems or pieces of poems or lyrics that weren't up to the par, up to the level that I like them to be good enough to share with the mass audience, but that doesn't mean I don't have a lot of good ideas. That doesn't mean I don't have a really good line here or there that can be built.
    It's many times in my life I have taken, the best example of this was unity. Unity, a quick story, I got in a huge fight, not a huge fight, but I got really mad at in Florida because she was married to a drunk and I went to visit her and I had a whole bunch of my poetry there and stuff and one day I took like five or six or seven of my best love pieces and I broke them all open and put them all on the floor and I started looking at this and looking at that and then I said, okay, these are all decent, but if maybe I take this lyric here, this lyric here, this lyric here, this lyric here, and then these three lyrics here or stanzas, whatever, maybe we can make the best fucking love song ever. That was my intention and I don't know if I did, but I came close.
    In my opinion, 85% of the best love song ever, maybe 80% of the best love song ever. It's not quite as good as journey, don't stop, believe in, and there's others off the top of my head, but anyway, so that being said, what I do have is a collection of things. I have several things.
    We could go in about four or five different directions here. One, I study Stephen Lynch and Trevor Moore, the funniest songwriters in the world, and I have binders with both of their, all of their material, full lyrics and everything, all the songs written out and the summaries of it. So we can mimic that type of style and we can exclusively focus on funny ass songs like parodies and not even parodies, just coming up with original songs that are just funny as motherfucking hell.
    And so that is always an option. That's easy. And using chat GPT as a guide to help you and just as a thinking, just a content generator of ideas just to get things flowing. I can do anything. I can write anything with that thing. So funny things is just one idea that we have that could be very easy without any work.
    The second was, like I said, I have probably 1,500 poems and things that are okay. We can open those up for dissection and just have upgrade poem night or something like that where we have all my B material, C material, and we see if we can make something A material. That's always fun.
    It's a, you can always take two or three things because it makes something good sometimes. So that's a possibility. I also have, oh my god, probably 500 or so, just one or two lines, lyrics or ideas or just one thought, one something that are just pieces of like gold, like something really cool.
   Like if I only write down one line, it's going to be good because I don't write down shit. My whole life I don't write down shit. It has to be good.
   So that's the way I look at it. That's another possibility. We could have just random lyric line night essentially or basically everything be like three stanzas or less as far as a complete thought of complete idea of each separate unit will have three stanzas or less.
    That would be like the criteria for stanzas or less, whatever. So we're not dealing with, we could separate it because I can separate my stuff into a bunch of piles. I can separate it into just tiny little lyrics that are just buds to seeds to make something.
   I have shitty poems that I wrote as either thought thinking they would be something or as an exercise and it just come out that, yeah, it might be okay, but not enough to really show throw in somebody's face. Then I have like the stuff that comes out really good that I'm like, okay, I really don't want to change any of this. Like the words are perfect.
   I have some of those for sure. And then I have basically everything else that is on the right track of either being relatively ready or close to being ready to really like make into a song. It might need an improvement here or there as far as repeating lyrics, a chorus, or some type of change of tone somewhere in order of like just a change of pace something.
    Most a lot of songs have that where somewhere around the minute and a half mark or minute mark or two minute mark, you'll say, or even sometimes even three minute mark, they'll have a two and a half minute mark, they'll have something completely like completely different like, you know, like, so like flagpole sitter has that part that's like different from the rest. And it's like, okay, it's like, it's not like those parts don't always make something better, but sometimes they do. And sometimes it's you just have space to fill.
   So, so anyway, so as far as other things we can do those as far as specifically with regarding with things I have now, I don't really know. Oh, another thing would be, yeah, okay, another probably if this is the fourth, the fourth thing, what we could possibly do is just have song writing ideas. I definitely have categories of instead of just a single line or a single or a couple lyrics, I have like a premise for a song or an idea or song like, like, for instance, I'll share, I'll share a song with you that is in the works that I've been trying to map out, but I need 19 or 20 people that actually do it right.
   So I have an idea and it's called political orgy and I picked 10 of the men or 10 of the women or 12 men, eight women, something like that. I picked either 19 or 20 people of like the most well-known politicians in the last like 20 years or the people you'd really know. Okay, I'm not going to mention a single name here, but I'm just gonna say everybody who you know since like the last like 30 years, give or take.
   So, and the premise is, is that it's called political orgy. So the idea is that you take 19 political people and you think to yourself, okay, there's a couple lines of thinking you go, but the first line you go is, okay, you think that, all right, who likes who? What are the, what are the alliances here? So, you know, this Democrat likes this Democrat and this Republican likes this Republican. So if they're going to be hooking up, they're going to be like doing like things to like, if you like somebody, you're going to give them oral as opposed to, if you don't like somebody, you're going to stick them in the ass.
   Okay, that's like the general premise. If you like somebody, you might fuck them or sometimes like, or maybe you won't, it depends on, and then to make it even fun, you're allowed to have a dildo in each hand. So my idea is to think, is to mix and match these 20 politicians so that everyone is having sex, everyone is connected by the seven degrees of Kevin Bacon, or you're like a pussy and a dick and every mouth is used. There's this criteria. It's quite, quite complex. Every mouth is used.
    Every front sex organ is used. Not everybody is used. I don't think that wouldn't make sense, but maybe it's possible, but I don't think so.
    And then, like I said, you're allowed to have a dildo in each hand. So the idea is you just, you get these 20 people and they're all having sex with each other, but it shows the varying, just like the groups and alliances. So it's, I don't know, it's not exactly a song idea yet, but once it's all together, there's got to be some way that we can manipulate into a song.
   Like tell a story of like there's a political convention and two or three people met and they had a few drinks and then people kept coming and then literally, you know, and then, and then in walks blank and blank and they went to, to blank, blank, blank, blank, blank. Okay. That's the general idea.
   So, but just to convey that essentially I like to explain that the Democrats and the Republicans, there are, they, there is a giant restaurant. Okay. And there's two doors or there's two sections, but it's the same restaurant.
   There's a section on the left section on the right. Maybe they call it different restaurants, but it's the same, but essentially what it is is you have an, you have one exterior entrance over here and another exterior entrance on the other side. And, but in between them, there's a, there's a kitchen that's linked and nobody knows or it's not obvious.
   So all the, all the Democrats go into one restaurant, all the Republicans go into the other restaurant and they, and they get served and the atmosphere is completely different. But the problem is that the food is the same and the cooks are the same in the same spot. And like, that's the idea of like American politics that I'm trying to relate to people that Bill Clinton and, excuse me, I wasn't going to mention names, but people who appear as political enemies are really best friends.
   And like I said, it's all kayfabe. It's it was Weinstein, not Harvey, not Harvey Weinstein, the other one, the good one, or the non, the non-bad one, Brett Weinstein, who said politics is just, is wrestling. It's wrestling.
   It's like wrestling for, I don't know, for everyone. Like it's, like it's all a fix, you know, it's, they're all, they're all serving themselves and they're just putting on a show and that's it. That's how it works. So I like to try to show that. So political orgy is just one more way of me showing it, but that's the idea I have for a song. I don't have any lyrics for it.
   I don't, I just have the idea. I started me and chat GPT got as far as actually linking nine people in a perfect way. But, but anyway, so what I would like to do, it would be fun to have 19 people give them each the identity and tell them, these are the people you like, these are the people you don't like, and then see what happens.
   See, see, see how we can manage things up. But anyway, so that is so, so the roundabout way of me explaining that song topics or ideas for songs can be another fourth, fifth or fourth or fifth issue, whatever a separate idea. And then finally, we could have potentially competitions or open contests, almost like the, the show with the ball guy and the Ryan Stiles, the tall guy and Wayne Brady, and whatever that show was where, where it's like improv comedy, but we can do relatively speaking, improv songwriting, where, like, you have some topics or you have some, you find some way to make it fun.
   And you have, you give x amount, you give two or three different musicians or artists 20 minutes to come up with something or 10 minutes to come up with something about something, or, or you can go from I've never done this, but I'm sure you could go around the circle in a room. And one person does the first line, the second person does a second line. And you know, you could do something like that.
   There's just, once you get me and some more talented people in the same room, we could fucking do anything. Like, I did all this by myself. Imagine what I can do with or I, I did a lot of the lyrics by myself. I obviously did the music I did with other people. So I'm not trying to take credit for everything, but I'm just saying this whole thing came from one brain. It started from my head.
   So and it's, I've kind of been a lone wolf for a while. So what we need to do is get me with 10, 10 people who are good at what they do. And then we can, I can take this thing to the moon.
   I think it's pretty clear. But so that's anyway, what we need from me for me is I need, I need, I need a handler, a moderator who can make me who can bring out my best side and somebody who can kind of think of me as like the godfather and or they give me a Tony Soprano and I'm only going to talk to Sal and then tell Sal can tell everyone what the fuck to do. That's kind of like, that's the idea only make Sal some fucking hot little blonde or some, some gorgeous like Ricky Martin type, whatever, anything.
   But that would be the idea is get somebody who was talent or some looks with me so that they can be this, the face of this thing. And I can just kind of sit back and be directly evolved, but not be, you know, I just, I don't have a strong desire to be famous. I'm 47 years old and nobody knows who the fuck I am.
   And this, you know, it's, it's okay. It's quite okay. But I know that doing this is going to probably have some, you know, I'm going to have to be out in front of people.
   So I'm not, you know, whatever happens, happens. I'm not, I've, I've resigned my fate to, once this goes public, it's okay. I, if I, if I, somebody shoots me, somebody stabs me, somebody fucking abducts me, the government takes me and whatever is as long as we get this out there and, and it's got a chance to start.
   That's, that's what's important. My fate is not, not I've, I've, I've set things up so that it's whatever I'm willing to accept, whatever it comes from, from going public with the venture of this nature with so much, I got a book full of feelings. Okay.
   Let's be honest. I got a book full of feelings and some of those feelings are good. Some of those feelings are bad, but they're all feelings.
   I don't have anything there that's neutral. I don't fucking do neutral. So, um, sometimes I do art for art's sake.
   Sometimes I do beauty for beauty's sake. Sometimes I try to maybe do something cute, but I don't do a lot of just, uh, I don't just, when it comes to music, I don't just paint a paint a room white. I fucking, I'm going to give you something, some color there.
   So, um, and we know it's a, we know the world we live in and we know that a certain segment of the population is going to be drawn to people who appear to have a voice because so many people, first for whatever reason, choose or end up not having a voice. So unfortunately in this world, the voices, um, that, that are, I guess, loud to get magnified and heard. Um, and a lot of times it's fucking yelling fire in a movie theater, unfortunately, or it's, Hey, look at me.
   And you look over and somebody's got their dick out, you know, that's, that's the life that's, or I showed my, my, my buddy, and he already knew, but I showed my buddy an example of, of this is like, you know, Hawk to a, okay. Hawk to a made millions of dollars. Okay.
   Maybe, maybe they lost, maybe she lost millions of dollars, but she made it. I'm like, I'm like, and I'm like, dude, that bitch can get fucking millions of dollars for that. And I'm like, for, for that one thought for that one, for that one line, I'm like, I explained to him, I'm like, dude, do you know how many lines like that I have in my book? Do you know how many times, you know, how many Hawk to is I have in here? And it's like, I'm like, if, if, if Hawk, if, if that Haley Welch Hawk to a girl made fucking a million dollars off of, off of that one fucking interview, too, I'm like, we're going to be billionaires.
   I'm like, my book has put billionaires fucking Hawk to like shit like that. And like, don't get me wrong. Hawk to her.
   If you're listening, hit me up. No, well, yeah. But I'm saying attractive girl.
   And, you know, that little accent that twangs, she's, she's adorable to a point. You know what I mean? To a point. To a point is, and we've, we all find out what that point was.
   Okay. Honey, long form podcast, maybe not your thing. But, you know, that's neither here nor there.
   That's I digress. So, so, so this, this is the 19 minute talk about just other things that could be done just off the top of my head without really thinking about it, just knowing what I have and what my specialties are. I, I don't make, I've never made music live with a band.
   I've, I've talked to Tyler Thompson over the phone a few times while he was playing and stuff. I've talked to Justin Justice a bunch of times, but not really when he's playing. But we've definitely, I've talked to Justin Justice for probably back in the day, hundreds of hours about music and theory and learning about songwriting.
   He taught me a fucking shitload. Very, he's a brilliant motherfucker. Um, so I mean, brilliant.
I mean, I mean, I mean, I'm in awe of that dude. A little bit eccentric, um, but non, non, um, not seemingly non, non harmful, uh, from what I can tell and, and not a, uh, not a, uh, Nick, you know, someone who tries their best, I guess would be the best way to put it. So, but, um, so as far as my abilities to create music, um, hypothetically live with musicians, um, I, I don't have many doubts.
   I don't have any doubts about that. That would, it would be somewhat, um, somewhat progressive or excuse me, no, not progressive. It would be somewhat, uh, productive.
  I, I don't see, I don't think there would be, uh, any negatives or any limitations on me or anything of that nature. And, but I do have 434 things that are already done. So and like 300 of them have never had music.
  So as far as coming up with new lyrics on the spot or something, um, I, I do know that I am very, very good at making a song better. I went through, uh, one person's entire like musical catalog of original stuff and made detailed notes about every song saying, this is good. This is good.
  This is good. If I did this, I would do this, this, this, this, that, that, and I've made a million adjustments on Klaus and me's songs and Justin   injustices, me and songs. Um, so as far as if I did have an ability, um, it would be to take something, listen to it and say, at least, at least in the music that I used to deal with.
   I don't know exactly what 2026 music is. I am not sure if, um, if you're looking to fine tune the shit that's on the radio. I'm not sure if I'm good at that, but if you give me something quality to work with or something that isn't completely, um, beyond my scope, you know, um, I, there's certain things I'm not going to be that good I'm not going to, I can't make techno music.
   I don't know what, what techno is or things of that nature. Um, I can, I could, I could do country anyone could do country. But, um, but yeah, so I do have a very, very, very, very, very good song parody of about, um, four non-blondes, um, song.
  “My dog, my dog left me and the wife ran away. So I woke up to do some drinking today. Oh God.” – lyricalbrilliance ;)
   I'm only going to give you those two lines, but it's fucking what I have is phenomenal. Um, but speaking of country music, speaking of parodies, um, that one's not in the book, but it's in my, like I said, I told you, I got, I got a list. I got fucking lists.
   I got hard drives. I got, I got printed books full of shit. I probably have, I probably, I've over since the last 20, since the last 29 years, I've probably self published 15 to 20 collections of books just so that the copyrights are, uh, you know, uh, stored under whatever means that will prove that I did it.
   And I did a, I have a poor man's copyright from holy fuck 20 years ago. It's still in an envelope somewhere. It's still in a sealed package from like my original.
   Um, I think it could be just computer paper at this point. I don't remember what the fuck I stuck in there. Who the fuck knows? I was married when I did this. So it was a fucking long time ago. Holy shit. That was 20 years. Yeah, exactly. 20, 20 years ago. Damn.
   So, um, and, and, oh, here's, here's the cool thing. I also have a giant box of handwritten lyrics from their original sources from freaking, uh, calendars from Dodge street in Salem, which is now a pot store. Um, the bar, uh, Dodge street in Salem.
   I used to go there a lot and I used to write a lot of shit there. So I got, I got, I got a lot of original material, handwritten, original copies of stuff that I did for over the last 20 years. Um, I got a whole box full of it.
   So the cool thing is if, if this stuff, if this ever does blow up, we, I, we, I got a whole, um, yeah, we got a whole, we get, we get a whole archive of, um, of memorabilia to sell or put on for, uh, auction or whatever. But so that'd be cool. That would be cool.
   You could have like, I don't know if I have like handwritten unity shit or handwritten, um, this or that, but I'm sure I do. I got a lot. I don't know.
   I haven't looked in a long time, but there's a box somewhere. So it would be interesting to see what I got. Um, so yeah, so I have a whole bunch of, um, stuff that, that we could do besides my whole everything that's specifically listed in my, um, my book one and book two of 34 albums.
   And then there's always the 35th album. Like I said, I did, I did talk about that. Um, these 34 albums, I'm happy to put them out there for free to give every musician a start and to, um, kind of use my situation.
   It's very unique as a way to give a chance for people to revolutionize the industry of music and go bottom up instead of top down. So that's awesome. Let's, I figure, dude, if, if I can do that and just say, is it 1%, 5%, 0.5% chance of, of this taking off and leading to something super awesome, dude, let's do it.
   I've been poor. I've been poor for 30 years. What's, what's, what's another couple of years, you know, but like I said, um, part of me wants to, if I had been famous 20 years ago or 15 years ago and was well known, I wouldn't be, I wouldn't be writing the stuff that I've been, you know, still writing.
   You know, I, I, I, I certainly wouldn't, wouldn't be writing album, uh, the 23 23 album 23. I wouldn't, uh, it's a set list. 23 would not exist if I was famous 15 years ago.
That's for God damn sure. Cause they wouldn't let it be, you know, that's how the world works. So, but, uh, you know, it's time to, uh, yeah, it's time to share my, my work.            April 2026,  Tom Jensen









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