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Quit Being Derivative

Derivatives Mona Lisa Selfie

I get about 3-8 emails every week where people send me music and ask for advice.  These artists come from many different genres.  I’m generalizing to be sure when I say they mostly suffer from the same issue, they’re derivative.

They’re mostly derivative, right?

Don’t be derivative.

Look, don’t get me wrong, if a derivative artist has a budget we’ll record them, that’s just business.

I’m talking about real art here, though.

I’m talking about future icons.

I’m talking about a way to break through the noise on the market RADAR screen.

Strictly on a business level, if you don’t have a MAJOR financial backer who can capitalize on a market trend, what exactly are you exploiting?

What’s the point?

Sometimes I wonder if it’s laziness.  I wonder that because I certainly suffered through my share of lethargy in my artist years if I’m being honest. Initially my main goal was to be on MTV.  Once I got access to our producer’s “other band”, The Allman Brothers, I realized it didn’t have anything to do with MTV.  I was being lazy.  I needed to dig deeper.  We all have to go through that door at some point.

But I digress.

Derivative anti cliche imageI hear male country artists singing “Bro-Country” about tailgates, tan legs, barbed wire fences and beers in the console.

I hear female country artists singing hostile ex-girlfriend lyrics trying to outdo Carrie Underwood or Miranda Lambert.

I hear endless rap artists who cannot seem to avoid the most obvious lyrical clichés like “bitches”, “ho’s”, and “n****s”, etc.

In the 80’s we all had long hair, ear rings, and leather pants.  In 2014 every hipster has a close cropped haircut and beard the size of Texas with 60’s styled horn rimmed glasses.  (Will that hairdo be remembered as some sort of 2010 version of the 80’s/90’s mullet?)

Every genre has it, man.

Every generation has it.

Every Iconic Artist found themselves at some point

I’m simplifying once again by this statement, but every iconic artist found themselves at some point.  They found their own unique take on a derivative tangent.

OLYMPUS DIGITAL CAMERAWait, huh?

C’mon you mean you really can’t tell how badly Petty wants to be Dylan?

Dylan wants to be Woody Guthrie.

Clapton wants to be Muddy Waters, etc.

Realistically the only way to avoid being derivative is to be yourself.  The most interesting artists are telling their own story.

Being Derivative is a timeless artistic problem

Being derivative is a timeless artistic problem deeply rooted in every artist’s beginnings and nurtured by label suits afraid to take a chance in artist careers for fear of a poor quarterly report.  (Don’t hate them, that’s just business.  If you’re smart enough to play the game professionally, you get that.)

Think about it, we all begin as artists imitating our heroes; this is necessary.  It’s the first inspiration. We artists connect strongly with the superstars whose message and image speaks to us.  We relate to them and pay homage, right?

So where then does the imitation stop and the originality begin?

The “me-too” acts with talent, money, savvy, gumption, and connections will probably get their 15 minutes of fame but they will be forgotten.

It’s the originals that we rememberDerivative 100 percent ORIGINAL stamp

It’s the originals that we aspire to be

It’s the originals that become icons

So what is the road map to true artistic innovation?

Work.

Work is the one thing most people aren’t willing to do that much of in any industry, unfortunately.

Artists especially avoid this act because unlike a regular job where you are compensated regularly for your effort, the artist must continue to invest time, money, and their spirit into a massively delayed settlement arrangement.

justiceDelayed financial, spiritual, and social reimbursement means you pay it all up front for a chance at evening the scales later on…usually much later on.

So naturally, most artists seek the path of least resistance and fall into an uninspired creative rut; this is human nature.

If you don’t want to spend too much time writing (working), you copy what you hear.

Instant gratification.

We covet what we see every day.

The original artists are constantly creating, always working.  The work provides the necessary steps to uncover the real artist deep down inside.

Every song is a stepping stone towards something greater.

The roots come up to meet the inspirational artistic input and they weave a new, unique fabric.

The work IS the compensation.  It has to be. If an artists doesn’t feel like that then the business model is doomed to fail.

This is who will create real impact.

That’s terrifying to an artist.  It requires removing your mask and being truly exposed.  Most artists who claim to be vulnerable really aren’t; at least they choose not to be in their art.

When you’re not vulnerable in your art, you’re derivative.

 

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Get Comfortable With Uncomfortable

Uncomfortable head in a jar with water image FEATURE SIZE

In our podcast episode entitled “What Is Producing”, Kelly and I discuss the many hats we find ourselves wearing as artist developers.  One hat is that of a psychologist to our artists and writers. Artists are, and should be, constantly uncomfortable. They need guidance, assurance, a friend, a shoulder to cry on, a champion, a white knight, a mentor, a disciplinarian, a protector, and a confidant as they navigate their way not only through this crazy music business, but in their private lives as well.

I am preparing for a meeting we are about to have with an artist who has struggled a bit trying to find his groove as a writer.

I am thinking about pain.

I am thinking about panic.Uncomfortable Panic image

I am thinking about anxiety.

I am thinking about what it means to be uncomfortable.

I remember as an artist I was in a constant state of “uncomfortable”.  Not only was I searching for the tools, processes, and pathways to advance my artist career, but I was trying to be a better person as well.

I was growing

I was effing uncomfortable.

I was always the least talented musician because I chose to (and was lucky enough to) be surrounded by guys with far more musical talent than me.

We worked our butts off and found ourselves in a relationship with a regional booking agent offering a club tour and we had to rise to the occasion.

We had to step up our game as a professional organization

We had to intensely scrutinize the vocal and background vocal components of our live show; because it needed it.

We had to become better musicians

We had to do it fast.  There was a tour coming.  No pressure.

We had to put an incredible amount of attention towards our look and stage presenceUncomfortable No Pressure No Diamonds Black

We had to step up our promo and create a poster for the booking agent to use as a sales tool.

We had to reevaluate our set list which would have ROCKED Milwaukee, WI but nowhere else; which was a disturbing discovery.

We had to overcome the complexities of 5 distinct personalities plus the road crew in a confined space for long periods of time.

We had to learn to say “NO”.

We had to discover and practice politics with club owners, road crew, booking agencies, and the occasional law enforcement officer.

 

We had to become pros because when we were signed to this agency we were amateurs.

Uncomfortable Life Begins at the End of Your Comfort ZoneWe had to improvise, adapt, and overcome because the “next step” is never anywhere near how you envisioned it to be.

We worked harder and then a producer became interested in developing us.

Guess what?

We had to rise up again.  Now we had to repeat all previously mentioned steps because we were operating at a higher level than before.  So new politics, new challenges, new relationships, and a lot more at stake.

We kept working and that helped us create a relationship with a major record label.  All new politics, new challenges, new personalities, and it never goes the way you imagined it.

Get the picture?

This was far better than the contrary, you know, the scenario where I surround myself with people who are “beneath my pay-grade” solely for the purposes of feeling comfortable.  So I can feel relaxed.Uncomfortable save yourself from settling 2

Content.

Kelly and I operate Daredevil Production the same way.  Hell, it’s WHY we named our company Daredevil Production!  The picture of the man performing a handstand on 2 legs of a chair that is balanced on another chair that is balanced on 4 Coke bottles, that is balanced on a tower of platforms that are balanced on top of a B-29 Superfortress is actually Kelly’s Great Grandfather, the Great Al Dault. That is the home page image on our website.

If you’re not feeling these things then you’re doing it wrong.

You’re stronger than you think

You’re smarter than you think

You’re capable of much more that you can currently imagine; I promise.Uncomfortable Rise Up Feature image

Comfortable is for people on their death bed.

Artists that are moving forward are risk takers.

If risk taking was an FDA approved drug the side effects would be:

  • Fear
  • Nausea
  • Anxiety
  • Elation
  • Euphoria
  • Devastation
  • Vomiting
  • Paranoia
  • Joy
  • DelightUncomfortable Side Effects image
  • Jubilation
  • Pleasure
  • Depression
  • Despair
  • Hopelessness
  • Satisfaction
  • Financial stress
  • Financial freedom
  • Flu-like symptoms
  • Anal leakage

 

Screw comfortable.

 

Unless you’re dying.

 

 

Uncomfortable get comfortable with being uncomfortable

 

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The Impeccable Artist

By Johnny Dwinell

Art is a craft and as a craft, I realize that there are 2 kinds of craftsmen.  Some are born with the innate ability to rise above all else with their art; they’re supremely gifted.  Most are born with the love and fascination for a particular art form and choose to follow it.

Craftsmen require mentorship to succeed at making a living, of any kind, with their art.

Here’s the key, both kinds of craftsmen require mentorship to succeed at making a living, of any kind, with their art.impeccable mentor definition image

For the artist prodigy born with the skill set to emotionally move people with their craft, they need mentorship on all the tasks that orbit around a career created by amazing art.  Just because they’re a born songwriter with a golden voice from God doesn’t mean the artist understands how exactly to make a record; which is different than recording.

It doesn’t mean the artist has an audio engineering skill set whatsoever.

It doesn’t mean the artist knows how to produce or make records

OLYMPUS DIGITAL CAMERAIt doesn’t mean the artist understands how to produce and it usually means they NEED a producer to foster them while they grow.

It also doesn’t mean the artist is excellent at executing the business side of a career.

Maybe artists shouldn’t have to.

I totally get that.

But one should definitely understand the concepts and cash flow of their business.  If you don’t someone else will; and they’ll be smart enough to know exactly what you don’t know.

Understanding and overseeing is one thing.

Doing the day to day is another.

If a business manager always has to get checks signed by the artist, it keeps them in line.  They’d better have a story for every vendor the artist doesn’t immediately recognize.file9581279077716

We have a few multi-platinum artist friends, some are more involved in the business side and some prefer to turn a blind eye.  It comes as no surprise to me that the artists who choose to turn a blind eye have many stories of getting screwed over and the business-minded artists have a different outlook.

Get it?

 

Here’s a link to the Beatles “Revolver press conference August 24, 1966 (this is just interesting and entertaining to watch, btw).  Notice how they put all the business questions onto their manager Brian Epstein.

Point of comparison: When Jon Bon Jovi finished the “Slippery When Wet” tour in 1987 he sold 12 million copies in the USA and had made about 93 million dollars from record sales, publishing, ticket sales, tour merchandise, etc. When the Beatles broke up in 1970 they had sold over 600 million records and each of them was worth about 10 million dollars (which equates to around 29 million each in 1987 dollars).

Yeah, man, read that again.impeccable slippery when wet

Bon Jovi is a businessman too.  The Beatles weren’t back then.

So many of you lament the business side of the music but as I mentioned In a previous article, if the word “professional” is valid in your music career, then commerce must exist. Since commerce is present in ALL professional careers, one should really know about it, yes?

If you’re a consummate artiste then you need to at least understand what goes on in the business and sign your own checks or you will almost certainly be pilfered.

Even Oprah says, sign your own checks.  How do you think she came to that realization?

Lastly, I want to share an exchange of ideas I had with a friend this past 2 days.  My friend is a good artist who has made the short list for our reality show. He was expressing frustration with the music business and the broken system.

It is broken.

It’s up to us to fix it; which means reinventing it.

He was wishing it would go back to where “Record labels took a chance on real artists and real artists didn’t have to be so self-promotional”.

I shared with him these thoughts.  Wishing for any label to go back to the old way is like wishing for Pennzoil to make pancakes; it’s not in their business model.

One of the biggest selling country records 10 years ago was Shania Twain’s “Up!” which sold around 12 million copies.  I believe Luke Bryan has the biggest selling country record last year and it was barely 2 million copies.

That’s only 16% of the sales from just 10 years ago.

How would you survive on 16% of your current income?

Then you factor in that each record sold generates 1/3 of the revenue it used to and you can clearly see that it’s not that the labels don’t want to develop talent, they can’t afford to.  So wishing for it or worse, planning on development from a label is setting yourself up for failure.

Labels want to buy small, profitable businesses and expand on the spark that was started by the artist and the art.

That means that even if you intend to pass all the business off to someone else tomorrow, you still need to learn to be a business person today.

Not-for-nothing, but learning that now will help you to keep an intelligent eye on it later.

 

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What Are You Doing?

Doing Feature Image RESIZE

The last weekly article I wrote entitled 10 Reasons Not To Give Up  received a ton of response.  There was a particular Dreams Clouds reaction that was inspiring to me.

First, I thought I’d share the email with you and then we can dive into my thoughts for this week.

I would love for you to bend your nimble mind around this one . . . it is one thing to hold your vision of the dream and never give up, but for those who really and truly don’t have the skill or talent to make it happen, how can a person accurately gauge when enough is enough and begin to pursue a more attainable dream?  I see it so much – people pouring their life’s energy into a delusion . . . and are crushed when it does not happen.  And that translates to a life of disappointment and pain.  That scenario is far more common than is success in music, don’t you think?

How would you guide a person and advise them via a critical assessment, a self-diagnostic, of their real potential to be successful in the music biz, without shooting them down?

For me, I understand success on a business platform and experience it daily.  Musically there are still a few remnants of fear there and I practice daily not allowing negativity to dissuade me.  I know I will have only the success and fame that I choose to have, given my knowledge of the law of attraction and how manifestation works.  I have done the self-diagnostic and am encouraged 🙂

Your posts encourage me.  I can feel your energy and drive to thrive, brothah!  Keep up the great work!

 

I assure you the person who authored this reply is coming from a very compassionate place, and has asked a real honest, Doing Feature Image RESIZEphilosophical question that I think we all have considered more than once as artists.

 

This brings up a real good perspective to consider, don’t you think?  I’m glad this person reached out!

 

I have an answer to the question that was posed in the reply printed above, “How would you guide a person and advise them via a critical assessment, a self-diagnostic, of their real potential to be successful in the music biz, without shooting them down?”

 

Ready for the answer?

 

It’s simple.

 

What are you doing?

 

Doing Excuse me WTF are you doing

 

The success, legitimacy, or potential for anyone’s future in any life adventure can be easily measured by the work that their doing.

 

What are YOU doing?

 

Wishing for something to happen is not work.

 

Wanting something to happen is not work.

 

Believing something should happen is not work.

 

Hoping for something to happen is not work.doing don't be upset by the results you didn't get from the work you didn't do

 

Complaining about something that is not happening is not work.

 

Making excuses for why something is not happening is not work.

 

Work is the conduit to success.  Work is where you find out exactly how your story will play out.

Work creates luck, opportunity, relationships, and results.

 

For instance, if you are an aspiring singer/songwriter/artist who is broke, living in B.F.E where there is no music business, married with 3 kids, and you are constantly working by writing songs, you are in it.

 

Your potential is greater than someone who is next door with the same circumstances telling everyone what they want to be and why they can’t get it done.

Just do the work.

doing do your work image

 

Through work you will find like-minded people with similar goals in the smallest towns.  That will lead to other people with similar goals in bigger towns.

 

The artists who work hard will always outshine the artists who talk about work and about the business; REGARDLESS OF SKILL AND TALENT.

 

The artists who are constantly working don’t have time to complain about not making it; they’re too busy creating opportunities for themselves.

 

I have learned that people who really love something are busy working on it.  As a consequence, I always judge my involvement with someone on a business level based on the work that they have done.

 

So any self-diagnostic should begin with an honest assessment of what are you doing?

Where are you spending your time?doing is our time well spent hourglass image

 

If you say, “I have to work a job I hate to pay the bills so I can live and therefore I don’t have enough time to be an artist” then you are right.

 

The kind of living you are making is clearly more important to you than becoming an artist because that is what you spend all your time working on; that is what you are doing.

So again I ask every one of you, what are you doing?

 

Whatever you are spending your time working is where you will see results.

 

If you realize that you are working towards something that isn’t as important to you as your artistry, then change it.

doing let's work together image

 

Right now.

 

If you have good reasons for putting all the energy you put into working towards something that doesn’t have anything to do with your artistry, then that is where you really want to be and should be.

 

 

I know this because that is what you are doing.

 

Stay

In

Tune

 

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Imagine Every Artist

Imagine Feature image

Imagine Every Artist just wanted to make art.

Imagine Every Artist started paying attention to effective content marketing and social media.

Imagine Every Artist stopped SELLING on social media and focused on building relationships.Imagine Lyric image

What if legacy and heritage artists monetized their million dollar brand names via direct-to-fan marketing?

What if legacy and heritage artists changed their business models to be subscribership/internet mail order businesses?

Imagine indie bands, singer/songwriters, and major label artists actually had a customer list like every other successful business on the planet. (How is this constantly overlooked?)

Imagine indie bands, singer/songwriters, and major label artists surveyed these customers to see what exactly they wanted and what they were willing to pay for like most other successful businesses.

Imagine Customer List image

Imagine Every Artist wanted to learn from a producer

What if every artist could be half as good at creating relationships on social media as Amanda Palmer?

 

 

Imagine Every Artist was interested in being better rather than famous.

What if every artist stopped making excuses for why they aren’t doing their art?

Imagine Every Artist lived for the journey and stopped focusing their emotions and self esteem on the time it took to get to some fleeting destination.

What if every artist could find a way to make a living being an artist? ($30k-$40k isn’t that difficult. What do you make right now?)

Imagine Every Artist stopped coveting other artists and started working on their own art?Chain

Imagine Every Artist knew the idea of being famous was a lot better than the reality.

What if every artist replaced the energy they spent on worrying, hating, coveting, pontificating, waxing nostalgic, brooding, complaining, and being narcissistic with real work/creativity?

Imagine Every Artist understood that their weak points need to be as cool as their strong points.

What if every artist could hear the difference between “art that is done” and “well done art”? (Yes, art can be objective)

What if every artist continually worked to create opportunities instead of waiting for opportunities to show up at their door?

Imagine Every Artist understood that commerce wasn’t a bad thing if it was done on the artist’s terms, done well, and done consistently.

Imagine Every Artist understood that to really be unique you need to be brave enough to be yourself. (Stop being derivative!)

What if every artist knew how to build a decent team?

Imagine Every Artist knew terrestrial radio was going to be 1000 times less effective tomorrow that it is today. (How would that change your approach?)

What if every artist used a company that offered text phone number capture technology to build their customer list during live shows because text messages have a 99% open rate?

Imagine Every Artist didn’t give away 90% of their revenue to tell their parents and friends that they have a record deal.

Imagine Every Artist understood how a squeeze page with the proper language could maximize the exposure of Imagine Don't Be Afraid imageevery public appearance including live shows, magazine interviews, podcast interviews, song placements, TV interviews, blog interviews, etc.

Imagine Every Artist wasn’t afraid to be afraid.

Imagine Every Artist expected relationships in the music industry to work like their personal relationships with quid pro quo and adding value.

What if every artist focused on making a living being and artist instead of being famous?

 

Imagine Console imageImagine Every Artist stopped making excuses and started recording.

Imagine Every Artist used Stage-It to reach out to their fans for the purposes of including them in the song selection for the upcoming release ala Bon Jovi’s Pizza Parlor Jury

What if every artist understood that it’s a numbers game and you have to constantly create opportunities through hard work rather than placing all their emotional “eggs” in one basket, for one deal, with one person, at one company?

Imagine Every Artist stopped being closed off to constructive criticism and opened their mind to constant improvement along their journey.

Imagine Every Artist wasn’t afraid to fail.

What if every artist understood it starts with the song and spending money on a better recording of an average song will render a better recording of an average song?

Imagine Every Artist stopped asking and started giving.

Imagine Every Artist knew they needed a team to get to the next level.

What if every artist knew they needed to shop for this team rather than shop for studio rates?

Imagine Every Artist stopped bad-mouthing successful artists.

How Will You Add Value?

How will you add value

Somehow, we have lost sight of the simple, honest truth that people need to add value, real value, to any organization to be accepted and succeed in that organization. If you don’t add value, the relationship will inevitably end or at least DRAMATICALLY shift gears to accommodate your lack of value.

In real life you have to earn respect.

There are people at your current job who demand respect simply because they outrank you. You want to keep your job so you intelligently play the game and feign respect to these people; but they don’t really have your respect do they?

Your respect is counterfeit because they haven’t earned it.Add Value Demand Earn Respect image

Consequently, you have people that outrank you and that you outrank at your current job who DO have your respect; they’ve earned it. They somehow bring value to the relationship.

Think about these people for a second. How exactly do they bring value to your relationship?

Let me tell you how important the concept of adding value is to me. I was hired to manage a phone sales room in LA by a friend who knew I could turn the 2ndshift around and make it profitable. He wanted me to start managing right away. I was flattered but one thing I KNOW about killer salespeople is they are cocky; as they should be.

I wasn’t going to have top sales people’s respect until I EARNED it and I NEEDED their respect to get them to perform for me.

So I agreed to take the gig as long as they put me on the sales floor first, so the room could see me work; as one of them. When the room saw I was a real hitter (took 1 day) they would respect me as a manager. Two weeks later after I was one of the top 2 or 3 salespeople in the room they announced I was a manager. The room loved me.

Get it?

My mother always told me water seeks its own level.

Add Value Water image

Translation: you’re going to end up where you end up based on the value you are adding.

 

 

I interact with young artists every day who simply can’t understand why they didn’t get a blue ribbon for showing up in the music industry.

They are genuinely frustrated by the lack of attention, the missing tickertape parade, the blase reactions they get from industry professionals after pitching their music or act. They are heartbroken because they met someone important in the industry one time that was polite to them and that person didn’t return their call or further the relationship as the artist expected them to do.

These aspiring artists often feel they should be famous or important simply because their parents told them so. Well, that part is true, you are important to your parents because they love you, unconditionally.

The rest of the world doesn’t care.

The rest of the world will need proof that you can add value to their cause before they offer up any kind of help.

It’s impossible to have a reputation based on what you’re planning to do.

You can only develop a reputation based on what you already have done. Add Value Henry Ford image

If you think about this in terms of managing your expectations, you have yet to prove your music has value in the marketplace. The professionals, whose help you need to break through to the next level, will require something more than a promise from someone they “don’t-know-from-a-can-of-paint”.

You behave like this too, by the way.

Would you let someone watch your kids or your gear because they knocked on your door and told you they are planning on being the best babysitter on the planet?

How about your money? C’mon, man, you should be a good person and give everyone that really wants a chance a shot at managing your money; you know, like a bank. I mean they PROMISED that they would be really good at it, right? Isn’t that enough?

Get the point?

This thought that everyone should instantly respect you before you add value is a bass-ackwards approach that is certain to yield disappointment and frustration.

It is also offensive to the people who are students of the game and have paid their dues. Think about it, if you worked you backside off your whole life to create something and then you encounter someone who wants you to help them (when they haven’t ever really done any work or enough work to help themselves) it’s downright insulting. It’s insulting because the artist is not bringing anything to the table; they just want to take.

When you were 8 years old you made trade agreements the lunch table. “I’ll trade you my Twinkie for your Ding Dong, interested?” You didn’t expect to walk over to some kid and say “I want you to help me get a Ding Dong by giving me yours” because you knew it wouldn’t work.

file0001434770515

So how will you add value?

When an artist asks for “help” in the wrong way at the wrong time, it’s insulting the person whose help they require. This in turn leads to rejection which mortally wounds us as artists; but we set it up that way from the start.

This naive method is akin to repeatedly putting your naked hand into a bag full of rattlesnakes, getting bit, and then consistently reacting to the event with emotions of surprise or betrayal.

If you’re gonna handle rattlesnakes, you better know what you are doing or you’re going to get bit; that’s just plain old common sense and animal instinct.

Next time you are at a friend’s house who is waxing negatively about their lack of success in the music business (or the next time you are) consider the possibility that you are going about it wrong.

Consider the fact that whether you are lazy or just naive, the damage is the same. You don’t have enough of a resume to compete at the next level until you have enough of a resume to compete at the next level.

There are no short cuts so KEEP WORKING.

I receive an email every other day from an aspiring artist who wants our “help”. These artists are frustrated because Labels won’t talk to them, booking agents won’t help them, club owners won’t book them, they can’t get a band together, etc.

Add Value I want you image

I am genuinely baffled about how to respond to emails like this.

The real message inside these emails is I want you to make me successful.

I want you to put a band together for me.

I want you to get the club owners to book me.

I want you to make the labels like me.

I want you to find my audience.

I want you to do all this because I won’t do it myself. I promise I will START TO WORK once you get the ball rolling “trust me.”

Imagine someone coming up to you wanting to play guitar for your band. Imagine them saying they are going to be a great guitar player but they really don’t want to commit any time to learning the guitar until they are sure that they have a gig with you.

Can you all read this and consider how insulting this is?

I put my first band together when I was in 8th grade. We played one or 2 parties, we were horrible, but we were practicing and playing gigs immediately. By junior year we had done ENOUGH WORK to get regular weekly gigsAdd Value Delavan image and add value to a couple clubs in Milwaukee. Incidentally, I grew up in Delavan, WI population 5,000 (at the time). We had multiple band-member changes in that shallow musical gene pool over the course of the first 3 years. I will never understand anyone who says they can’t get a band together. To me it means you just don’t want it enough.

Where there is a will there is a way; period.

Understand booking agents work on commission.

Once you prove you can ADD VALUE by making them money then believe me, booking agents will fall all over you like a cheap suit.

Record labels need to sell records to survive.

Once you sell 100,000 downloads of your song, believe me the labels will be clamoring to sign you because it would be impossible to deny that you can ADD VALUE to their cause.

Do you really want a counterfeit commitment?

Once you start thinking about how you can add value to a relationships, instead of asking what they can do for you, you whole world will change.

 

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