The Economics of Everyday Things

3. My Sharona

January 8, 2026

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  • The song "My Sharona" by The Knack, written by Doug Feiger and Burton Aver, generated significant wealth for the songwriters through multiple, distinct royalty streams including performance, mechanical, and synchronization rights, separate from the recording artist royalties. 
  • The low cost of recording the debut album *Get the Knack* ($17,500) relative to the $100,000 advance allowed the band to retain a substantial portion of the advance after recoupment. 
  • Co-writer Burton Aver continues to earn a six-figure annual income (estimated between $100,000 and $300,000) from the song decades after its release, demonstrating the long-term financial power of songwriting copyright ownership. 

Segments

Introduction to Sharona Story
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(00:00:48)
  • Key Takeaway: The woman who inspired “My Sharona” was a teenager in late 1970s Los Angeles who met the songwriter after attending a band performance.
  • Summary: The host interviewed a woman whose name is known from the hit song, who was a teenager in Los Angeles during the late 1970s. She met the songwriter after he invited her to see his band play at SIR Studios. He immediately declared he was madly in love with her and predicted they would be together.
Podcast Introduction and Hit Details
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(00:02:27)
  • Key Takeaway: “My Sharona” hit number one on the Billboard Hot 100 on August 25th, 1979, staying there for six weeks.
  • Summary: The episode of The Economics of Everyday Things focuses on how one hit single can generate income for decades. The song was written by Doug Feiger and Burton Aver of the band The Knack. The track stood out by reaching number one in an era dominated by disco music.
Songwriting and Early Success
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(00:03:41)
  • Key Takeaway: The core riff of “My Sharona” was inspired by Elvis Costello’s “Pump It Up,” and the song was written in about an hour.
  • Summary: The song was one of the first written by Feiger and Aver together, intended to be a powerful set closer. Aver developed the riff after being inspired by the drum breakdown in Elvis Costello’s “Pump It Up.” The actual writing process, channeling Roger Daltry, took approximately one hour.
Record Deal and Production Costs
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(00:05:04)
  • Key Takeaway: The Knack signed with Capitol Records for a $100,000 advance and kept over $82,000 after spending only $17,500 to record their debut album.
  • Summary: The band gained significant attention after major artists like Bruce Springsteen jammed with them, leading to record deal calls. They secured a $100,000 advance, which was largely retained because their recording costs were exceptionally low. Most tracks on Get the Knack were recorded in one take, contrasting sharply with other bands spending much more.
Royalty Streams Explained
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(00:07:08)
  • Key Takeaway: Songwriters (Feiger and Aver) receive performance and mechanical royalties, which are separate from and not recouped against the record company’s advance paid to the band.
  • Summary: Record companies own the master recording, and the artist’s initial sales royalties go toward repaying the advance. The Knack received 13 points (13% of sales) as a new band, which was considered high. Performance royalties are generated when the song is played publicly, and mechanical royalties stem from sales, both benefiting the songwriters directly.
Parodies and Sampling Issues
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(00:10:06)
  • Key Takeaway: The songwriters collected royalties from “Weird Al” Yankovic’s parody “My Bologna,” but did not receive payment from Run DMC’s use of a sample from their recording.
  • Summary: A parody song generates royalties for the original composition’s copyright holders whenever it is sold or played. However, Run DMC’s use of a sample from The Knack’s recording in “It’s Tricky” did not result in direct payment to the band because permission was not obtained for the recording itself, leading to a later settlement.
Synchronization Royalties Growth
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(00:15:12)
  • Key Takeaway: Licensing the song for use in the 1994 film Reality Bites generated a significant synchronization royalty payment of about $60,000 for the songwriters.
  • Summary: Synchronization royalties are earned when music is licensed for use in media like films, TV shows, or advertisements. The use in Reality Bites was a major financial event for Aver and Feiger, leading to a substantial payday. This usage also reintroduced the song to the charts, attracting new fans and further licensing opportunities.
Modern Streaming Income
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(00:17:18)
  • Key Takeaway: Streaming royalties are minuscule on a per-play basis but accumulate significantly due to the high volume of plays for a hit song like “My Sharona.”
  • Summary: Streaming platforms like Spotify generate income streams for both the record label (from the recording) and the songwriters (from mechanical and performance royalties). While the per-song rate is very low, the sheer volume of plays ensures the income remains substantial. Aver estimates his annual income from the song is easily over $100,000.
Sharona Alperin’s Perspective
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(00:18:50)
  • Key Takeaway: Sharona Alperin, the song’s namesake, is now a real estate agent who has ambivalent feelings about the song’s possessive lyrics.
  • Summary: The person the song is about, Sharona Alperin, does not receive any of the royalties generated by the hit. She is currently a real estate agent in Los Angeles. She expressed discomfort with the possessive nature of the title, stating, “It’s like, dude, no, I’m not yours.”