Tag Archive for: Florida Georgia Line

I was reviewing the overwhelming responses to the “Best Of 2014” email we sent out (Thank you all again for those!) and the email signature of one response caught my eye. The signature had this quote from C.S. Lewis, “It’s hard to see things if you don’t know what they look like”

I don’t know why but I fixated on it.

Read it again…”It’s hard to see things if you don’t know what they look like”How Can You see FEAR

 

My immediate interpretation of that quote was that it articulates fear.

Artists that come or operate from a place of fear are weakened by the anxiety of the unknown.

The unknown becomes something real to them in their head, something frightening, alarming, or just plain unattractive.

They think they know what they are dreaming up is supposed to look like but without the work to actually see how the inspiration manifests itself, the reality is they don’t know what it looks like.

 

They stop working or pass on an opportunity simply because of a flawed thought process.

 

The good news is that’s fixable.

Just do the work.

How can you see do the work image

 

Here’s a real life example.  Kelly and I were developing a very young artist a few years back.  He is a very gifted, very special guitar player.  He has been touring since he turned 19 and continues to make a living doing what he loves (and was clearly born) to do.

When he came to Nashville at 17 years old, he was operating from a place of fear in many aspects of his life yet he still had the balls to move at such a young age; the dichotomy!

 

You see he’s a rocker/blues guitarist at heart.

His fear manifested itself in quite a few disruptive behaviors that hindered his career as an artist and professional musician.

 

DSC05491-BTo his credit, he has worked and continues to work diligently to further his livelihood and explore more fearless, creative, and fulfilling methods of thinking.

Kelly and I had dreamt up a few different ideas that would spotlight his talent creatively and in the marketplace albeit residing on the fringe of the country music market.

 

That’s a pretty damn diverse market these days.

We promised the artist (like we do ALL of our artists) we would never put him somewhere where he doesn’t belong or doesn’t want to be.

We promised the artist that if he put in the work, we recorded something, and he hated it, we wouldn’t care. Kelly and I knew it would be a stepping stone to discovering the artistic lane.

 

We thought we could do a rock record very cleverly arranged that could end up being spun on country music radio (which makes sense on a business level because it’s the biggest “store front” at the moment).  Remember, whether you like them or hate them, Florida Georgia Line changed country radio forever.

Country radio changed for them instead of them changing for country radio.

 

We felt we could do the same with this artist by making radio change for his lane.

He was DEATHLY afraid that we were going to try to put a cowboy hat on his head, cowboy boots on his feet, and a hayseed in this teeth.

 

file5131257711140

Kelly and I desperately tried to reason with him. Of course, we didn’t care how he dressed.

I told him, “Close your eyes and picture yourself listening down to all the mixes on your record.  It’s everything you wanted to do. You are proud of this record!  Can you picture that?”

“Yes” he responded.

“Now then, why do you care where I sell it?”

I thought that one would “corner him with logic” but alas, it didn’t.

 

We asked him, what do you want to do?

 

He didn’t know what he wanted to, instead he constantly focused on what he thought he didn’t want to do based on what he saw in his imagination.

 

There was no recording.

 

This infuriated me because we never did ANY work and he had the ultimate artistic hall pass, we agreed to scrap anything and everything he didn’t like after we recorded it.

He was afraid to explore.PUMPKIN PATCH 085

He was afraid to “play in our sandbox”.

He couldn’t see it because he didn’t know what it looked like.

If you really dig down you can never know what an original artistic creation will look like in advance.

 

Knowing exactly what it looks like is a euphemism for “DERIVATIVE”

Originality requires courage.

Courage is action in the face of fear.

How can you see Courage image

 

Earlier this year, this artist called me after he heard The Cadillac Three’s “Party Like You” and said, “I get it now.  I get what you and Kelly were trying to do”.

 

It’s a badass rock record getting spins on country radio, but I digress.

 

 

The second interpretation of the quote “It’s hard to see things when you don’t know what they look like” was self-forgiveness.

how can you see forgive yourself

Let me save you the suspense, when artists courageously go forward with their art they will make mistakes.

 

Good decisions come from experience. Experience comes from making bad decisions.how can you see good decisions image

 

Here’s an example:  My first tour was a financial failure because I allowed the booking agent to walk all over me.  The rest of my touring life as an artist was a financial success because I knew what it was supposed to look like after having screwed it up.

 

Here’s another example:  from the time I was 16-20 years old I secretly adored this girl that worked at the Lake Geneva record store.  I would buy records I had no business buying because I wanted an excuse to speak with her.

how can you see relationship meme

 

She was gorgeous. Everything I thought I wanted in a woman. During my first tour (yes, the financially unsuccessful one) I found out she was everything I didn’t want in a woman.

It’s hard to see things when you don’t know what they look like so if you got burned, man, then LET IT GO.

 

Now that you know what it looks like you can see it clearly.

There is no shame in making a mistake with something you couldn’t see because you didn’t know what it looked like.How can you see Let It Go image

The shame is making the same mistake twice when you do recognize it.

I wish us all a GREAT 2015 y’all!

 

Stay in tune.

 

How can you see speak no evil

How can you see what would you do quote

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Prove Your Worth

We are constantly hearing comments from up and coming indie artists like “I just need to get my deal [and then I’ll be successful]” or “If I could just get in front of the right person, I know I could be successful.” I got news for you, the record business doesn’t work like that anymore. These days it’s simply not enough to have talent, you have to PROVE that you’re worth it.

You have to PROVE that your art has value in the marketplace.Prove Show you are valuable small

 

In other words you have to create success for yourself before anyone of value or power will believe that you can generate revenue for them.

Do you see the naïveté in those comments?

You cannot intelligently approach this dream of yours thinking that someone else is going to make you a star.

Record labels are no longer developing artists, they are now buying small business and turning them into big businesses.

Prove Daredevil Production

The Daredevil Production, LLC business model is built around this fact. Kelly and I develop artists artistically and in the marketplace to help them become small profitable businesses so they will be more attractive to the big money players.

You can’t build your business model around a 20 year old music business model.  Yes, there are exceptions to the rule.

  • What intelligent business model is built around exceptions to the rule (A.K.A. winning the lottery)?
  • If you did win you would actually lose because your deal would suck so bad you might end up being a broke country star.

Prove National LotteryFYI, there were plenty of broke rock stars in the 80’s and it wasn’t because they were bad with money, it’s because they were rock stars making $400/week.

 

Pretty sad, huh?

 

Do you want your deal to look like this?

 

 

 

I got more news for you, even in the heyday of the record business, the “easiest” record deals came to the derivative acts.  The acts that were signed simply because the labels saw some quick money to be made with an artist that could capture a little Prove Iconicmarket overflow from a lane forged by an iconic trailblazer.

 

The game-changers, the icons we know today HAD TO PROVE THEIR VALUE IN THE MARKETPLACE because they were so different.

The story hasn’t changed much.

This statement is relative to every decade in the music business.Prove High Risk

No one wants to sign something that is different from what is happening right now on terrestrial radio because it’s too risky.

How do they know if the market will like it?

If a genre or artistic lane is getting a lot of love on terrestrial radio (like “bro-country” for instance) there is proof that the style is popular in the marketplace and therefore money to be made.

If you are different or new, in any decade, YOU would need to provide evidence that even though terrestrial radio is currently not playing your style, your music has VALUE in the marketplace.

 

Prove DIY

You are going to have to do this yourself.

 

 

 

 

Here are 20 artists who had to prove their music had value to get their record deals.

 

  1. Mötley Crüe – Nobody wanted to sign Mötley Crüe. They were too weird.  They created their own record label Prove Motley Crue Too Fast For LoveLeathür Records and self-released Too Fast for Love.  Mötley’s local popularity was so huge in 1981 that they sold 40,000 copies in Los Angeles alone.  FYI the wiki link says 20k but I’m pretty sure my sources are more accurate. ;)  These sales led to an Elektra Records deal in late 1982 where they remixed the Crüe’s debut record and re-released it. Mötley Crüe incarnated the glam-metal-hair-band genre of the 80’s.  Thank you fellas!
  2. Ratt – Since 1976 many self-financed singles, records, and live show recordings were being distributed to galvanize Ratt’s (previously Mickey Ratt) LA club following. This led to a Prove Ratt Out of the Cellarmeager indie record deal where they released the Ratt EP in 1983.  After 20,000 units sold that was enough to convince Atlantic Records that they had value. Atlantic released their debut full length record entitled Out of the Cellar in 1984.
  3. Bon Jovi – Jon worked at a shoe store while mopping floors at The Power Station Studios in NYC where he was granted access to the storied recording facility after hours. When did he sleep?  He recorded 50 + demos of Prove Jon Bon Jovi“Runaway”(one was produced by Billy Squier) and shopped them to the labels.  Nobody cared. At the time, Jon was also WORKING for WAPP “The Apple” writing and singing jingles.  DJ Chip Hobart asked Jon to include “Runaway” on a compilation record for the station (a move Jon was very apprehensive about) and that single became a huge “local” hit.  Local was NYC which was the #1 market in the country and that was enough proof to entice A&R rep Derek Shulman to sign Jon to Mercury Records.
  4. Skid Row – The first Skid Row record was written by Jon Bon Jovi, Richie Sambora, and Prove Skid RowJack Ponti. Skid Row band members Dave Sabo and Rachel Bolan were listed as writers for the purposes of street cred which was mission critical to hair metal bands of the 80’s. This record was entirely created and funded by Jon Bon Jovi after the Slippery When Wet album tour was finished. He had proven his skills had value in the marketplace. Even with all that power behind him (Bon Jovi was probably one of the top 3 acts in the country at that time), and the record completed, Jason Flom from Atlantic Records wouldn’t give Skid Row a deal until Bon Jovi agreed in writing to allow Skid Row to open every date on the upcoming New Jersey World Tour.  After that contract was signed guaranteeing massive exposure for the band, Flom gave them a $1,000,000 cash advance.
  5. Florida Georgia Line – FGL was developed by one of the most powerful and successful Nashville songwriters, Craig Wiseman. They were produced by multi-platinum engineer/producer Joey Moi.  All this power and marquis Prove FGL Cruisevalue and every label still said “NO”; they were too different.  They STILL had to prove they had value.  They exercised a relationship on satellite radio where “Cruise” became a smash hit.  Then they orchestrated an 8 month tour to support the single (privately financed) where they succeeded in selling 100,000 downloads of the single. The record didn’t change, the songs didn’t change, and the production didn’t change. The only thing that changed was the perception.  Every label then said “YES” and they signed with Scott Borchetta’s Republic Nashville label under the Big Machine umbrella.
  6. Zac Brown Band – Zac had been touring over 200 dates a year with an acoustic trio Prove Zac Brownsince 2002. Constantly writing and recording and shopping to record labels. They were “too pop” for all the country labels and “too country” for all the pop labels. While Zac was touring they were selling records, tickets and merch. They managed a small profitable ZBB business for 10 years which was enough proof to garner one of the sweetest deals in town which is really a Joint Venture between Zac’s own Southern Ground (formerly Home Grown) label imprint Prove Luke Bryanand Atlantic Records.
  7. Luke Bryan – reached success as a songwriter to prove his music had value. He penned the title track to Travis Tritt’s 2004 release My Honky Tonk History. Which helped him get a deal with Capitol Records.  Here’s the thing, while he was working on his debut album he managed to co-write Billy Currington’s #1 single “Good Directions” which certainly helped when it came time for the label to allocate promotional funds for Bryan’s debut record.
  8. Brantley Gilbert – Proved his music had value in marketplace by writing hit songs first. Prove Brantley GilbertHe had cuts like “The Best of Me” on Jason Aldean’s 2009 release Wide Open. This resulted in an indie record deal where he released his debut record that included “My Kinda Party” which became a #1 after it was re-recorded by Jason Aldean for his 2010 release of the same name.  Brantley’s 2nd #1 was “Dirt Road Anthem” co-written by country rap artist Colt Ford.  This effort led to Brantley’s deal on Scott Borchetta’s Valory label and insured proper attention to Brantley’s releases once he got his shot.
  9. Chase Rice – He co-wrote one of the biggest hits of the last 5 years “Cruise” by Florida Georgia Line. BIG time proof his music has value.  Now he has a deal and a gold single with “Ready, Set, Roll”.
  10. Sam Hunt – He penned Kenny Chesney’s “Come Over”, Keith Urban’s “Cop Car”, and Billy Currington’s “We Are Tonight” before independently releasing his own single. This led to a major label deal with MCA Nashville and his current #1 single “Leave the Night On”.
  11. Cole Swindell – wrote these songs to prove his music had value. Then he independently released “Chillin’ It” and THEN he got his deal with Warner Bros.Prove Cole Swindell
    1. Craig Campbell’s “Outta My Head”
    2. Luke Bryan’s “Just a Sip”, “Beer in the Headlights”, “Roller Coaster”, “Out Like That”, “I’m Hungover”, “I’m in Love with the Girl”, “Love in a College Town”, “Shore Thing”, “Shake the Sand” and “The Sand I Brought to the Beach”
    3. Thomas Rhett’s “Get Me Some of That”
    4. Scotty McCreery’s “Water Tower Town” and “Carolina Eyes”
    5. He also co-wrote Florida Georgia Line’s “This is How We Roll” with Luke Bryan
  12. Lee Brice – Co-wrote Garth Brooks 2007 single “More Than a Memory” which was the first single in the history of the Billboard Hot Country Songs chart to debut at #1. He also signed his artist deal with Curb Records the same year. Coincidence?
  13. Ani DeFranco – Ani has been independent all along. She started her own label Righteous Babe Records at the age ofProve Ani DeFranco 18. She recorded everything on her own with an 8-track reel to reel and toured her ass off.  She put out 5 records from 1990-1994 before partnering with Koch International to distribute her 6th independent release Not a Pretty Girl.  Who knows how many major label deals she has turned down?
  14. Granger Smith / Earl Dibbles Jr. – These are both the same person. By independently writing, recording, and releasing records Granger Smith has utilized social media to create an empire that generates over $1.5 million dollars per year in revenue. This activity created the college football picks on-air position Earl Dibbles Jr. holds every Saturday with CBS.
  15. Jamey Johnson – He co-wrote the huge Trace Adkins hit “Honky Tonk Badonkadonk” which garnered him a deal with BNA Records in 2005.
  16. Randy Houser – Co-wrote “Honky Tonk Badonkadonk” with Jamey Johnson and Dallas Davidson for Trace Adkins in 2005. That proof of value led to a major label deal in 2008.
  17. Karmin – Proved that her talent had value in the marketplace by posting consistent YouTube videos of cover songs. Prove KarminThe breakthrough was her cover of “Look at Me Now” by Chris Brown, Lil’ Wayne, and Busta Rhymes. That video currently has over 93 million views and led to a record deal and a solid fan base.
  18. Macklemore and Ryan Lewis – Are the first duo in the history of the Billboard Hot 100 chart to have their first 2 singles go to #1, both without the support of a major label. The duo accumulated 613 million views of their video for “Thrift Shop” on YouTube. They currently have over 1.3 million subscribers on their YouTube channel.Prove Macklemore
  19. Noah – Posted a cover that he creatively manipulated to his own artistic lane on YouTube for 77 weeks in a row. He built a steadily growing subscribership until the 77th video which was this version of LMFAO’s “Sexy and I Know It”. This video blew up and went viral.  Around 2 million views he started monetizing it.  Around 6 million views, he implemented a pop-up to direct viewers to his IndieGoGo crowdfunding campaign where he was able to procure $100,000 for his first record.  He now has over 22 million views and a solid career.
  20. Thomas Rhett – is the son of hit singer songwriter Rhett Akins. Prove Thomas RhettStill, it took until he wrote “I Ain’t Ready to Quit” which was cut by Jason Aldean for his My Kinda Party album to prove his music had value in the market place which resulted a major label deal.

 

 

 

All these hit artists had to PROVE that their music was valuable BEFORE they got their deals or continue to prosper independent of major deals.

 

Nobody is going to come to your door and make you a star.

Nobody is going to risk their money on what you plan to do.

Major labels and big private money investors will only invest in your career based on your reputation.

You can only have a reputation based on what you have done, NOT what you are going to do.

Stay in tune.

 

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Fearless Production fate loves the fearless

I really want to share something with y’all.  It may sound a bit self-serving but I’m thinking of you (as always) so read through to the end…you’ll get it.  Here’s the deal, I’m super excited today. Kelly Schoenfeld and I were chosen to develop an artist who has really got the gift.  This artist’s vocal tone is rich and the control she has over her instrument is astounding.  She sounds vintage, like REALLY vintage.Fearless Production Patsy Cline

She sounds like a cross between (and this is going to sound weird but it is accurate) a 25 year old Patsy Cline and Dwight Yoakam.

So here’s the kicker…she’s 11.

The reason they chose Daredevil Production was fearless production and marketing.

I feel they recognized we were willing to find a formula to feature her Fearless Production Dwight Yoakamold-fashioned vocal tone with a modern musical landscape.  Also we had the added benefit of a solid marketing plan to begin building a demand for the record now to create sales whenever it’s finished.

We are quite proud of that.

We wanted to accent her strengths and build something current around where she lives artistically which once again is a vintage sound.

Fearless Production do something different for a change

We wanted to do something different.

We wanted to do something that is currently NOT happening on the radio.

We were in tune with where the artist and her parents wanted to go and we are in a position to do something about it.

 

This got me thinking about all of you.

Your artistry.

Kelly and I are fearless when it comes to developing artists that are unique (thus the name Daredevil Production) because we are confident that we know how to find an audience that is willing to and wanting to listen to their art the way they want to do it.

You can target your audience through social mediafile000458994938

That’s a big bonus in the new music industry y’all should be exploiting regularly.  You can target your audience through social media.  You can create demand.  It will be foreign at first but it’s doable and people make money at it every day.

Radio will change for her instead of her changing for radio

We understand that we can artistically guide this artist to a place where she can make a living her way. If there is enough momentum to really blow her up then radio will change for her instead of her changing for radio.

Love ‘em or hate ‘em that’s the way Florida Georgia Line did it. There’s your proof it can be done.

How many of you are chasing something that is already popular artistically speaking?

Here we have a very cool situation that shouldn’t really be that unique but sadly, it is.  The circumstances are that we have an artist with extreme talent, who we believe has an insatiable work ethic, is completely open to “playing in the sandbox” with us artistically, and willing to embrace new marketing strategies as well.

In other words, the artist and her parents are unencumbered by “the way it used to be” or by “the way it should be” in their heads which literally frees them up to accomplish anything.

Fearless Production the sky's the limitThe Sky’s the limit.

 

Are you thinking like this?

Are you open to and actively operating your independent artist business in the new music business model or are you stuck in the old music business model?

 

Want some more proof?

Taylor Swift is operating out of the new business model.Fearless Production Taylor Swift

  • As of this week she is the only artist EVER to have 3 records in a row sell more than 1 million units in the first 7 days of release.
  • She is also the first artist to have a 1st week million selling release since Eminem in 2002.
  • “1989” is a personal best with first week sales outselling all her previous albums.
  • If that wasn’t enough, she is the ONLY artist in any genre to have a million selling record this year.

All this happened with a record that received ZERO support from country radio where all her previous releases were Fearless Production Taylor Swift 1989promoted.

Think about that for a second.

She literally jumped ship and abandoned the pipeline that fed her so well throughout her storied career.

1 word:  GUTS.

The reason she can do this is because she has a serious connection with her audience (they’re called Swifties).  She is constantly thinking about new ways to market her music.

Fearless Production mark twain quoteIn many past articles I have written about how it is much easier for the artists to make a living these days in the music business. This is true if you’re willing to operate with a completely open mind free of your ego, daydream scripts, and nostalgia.

Are you truly making something great or do you have to give a disclaimer before someone listens to your music?

Are you serious about cracking the code to creating and deepening relationships online with your fans?

 

That takes real work.Fearless Production Do one thing every day that scares you

I promise that if a fan feels they have a connection with you and your music they will easily pay $10 to support you. Even more.

 

 

The only thing standing in your way is you.

 

Stay tuned about this 11 year old artist, you will be hearing from her soon.

 

Oh, and stay in tune.

 

 

Fearless Production keep calm and stay in tune

 

 

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Team Together Everyone Achieves More

By Johnny Dwinell

I entertain so many conversations from artists and songwriters about how difficult it is to build a team and break into the music business.

They go on and on about how much they want it, how much they need it, how they were born to do it, and then, ultimately, how they’re frustrated.

I get it.Chances team Kidd Gypsy image

I really do.

Remember, I was an artist first.

I hear their frustrations.

I feel their pain.

I’ve been there, man.

Look, this business is rife with hindrances when you’re really in it.

It’s impossible to succeed if you are just “sticking your toes in the water”.

It’s impossible if you’re working from a playbook that is ineffective because it’s outdated, naïve, ignorant of your strengths and weaknesses, and non-responsive to the constant industry changes.

Are you really on the field playing or are you commenting on the game from the cheap seats?

…where it’s safe.

Some of the conversations I endure are akin to someone sitting up in the nosebleed section of a professional football stadium telling everyone how they want, need, and were born to play pro football while complaining that the quarterback never throws the ball to them.

I’m so not kidding.

You’ll need to put together a teamSONY DSC

I promise that if you are going to have a chance in this business you are seriously going to have to pull your head out of the clouds (and/or your ass) and put together a team, a plan, and a business model that will move you forward.

I got news for you, that team is different for everybody.

Therefore the plan is different for everybody.

Nobody is going to hear your song and come to your door to make you a star.  It doesn’t work that way.

Team Golden Ticket 2That is a fairytale.

Maybe it’s happened to one artist but that is an asinine plan of attack to pin your hopes, dreams, financial resources, and reputation on the perceived evidence of one enchanted lottery ticket.

It’s doubly idiotic when you consider the fact that you don’t live the rest of your life like that.

I mean you don’t tell your landlord to “wait for the rent” because you just played the lottery do you?  No, you go to work every day and create cash flow.

You make it happen.

For someone else’s team, btw.

When you put a team together you initially have to look at each relationship intelligently and pragmatically.

You want to determine how you can bring value to the relationship and whether it’s a relationship that is valuable to you right now.

Every opportunity is not opportune.Team Opportune Time

Oftentimes the best way you can bring value to a relationship is with money.  Start doing business with someone that can offer you something you need.

The benefits are unlimited.  At Daredevil Production, LLC we have many relationships with artists that started with them paying us to develop them; to deliver a killer radio ready track and all that statement entails.

These artists paid for the tracks and certainly received their money’s worth.

They also now have real relationships with hit writers, musicians, artists, industry executives, movers and shakers, and any of our friends that may be hanging out at any given time during their project.

Get it?

You’re not ready for some relationships.

Team You can't build a reputation on what your going to do

 

In fact, getting the big representation for many of you would actually be the kiss of death for your career.  The more you accomplish before the big relationships, the better deal you will get and all the better position you will be in to capitalize on that opportunity.

The world doesn’t care about your potential because they don’t know you. As such, they will judge you and any explorations of a future relationship with you based on what you’ve already done.

The only way to prove your value in the industry is to do something. SOMETHING!!

 

Here’s a few thoughts to consider when building your team.

  1. Hungry teams are more productive.
    • It’s more important to have a team that is invested, that wants to play ball than a bunch of marquis value names.Team Chase Rice
    • In the beginning the bigger names are of no value to you and you are of no value to them, don’t take it personally.
    • Make sure they are as enthusiastic about your project as you are!
    • Have you heard of Chase Rice? He co-wrote the Florida Georgia Line smash hit “Cruise”.
      • Florida Georgia Line was developed arguably by one of the top 3 most powerful songwriters in Nashville; Craig Wiseman. Craig could have tons of high value names on his team but one of the names he had was Chase Rice.  My guess is that’s because Chase was a good writer with a good work ethic and a solid head on his shoulders.

Are you picking up what I’m putting down?

Now, not only is Chase a rising star as an artist, but he is the co-writer of “Cruise”.  He wasn’t any of those things when he co-wrote “Cruise”.

  1. Find your class
    • Develop relationships within your class that will add value to your team.team Let's do Business
    • Get in touch with potential team members (songwriter nights, engineers, producers, etc.)
      1. You may need to pay them professionally if they’re upperclassmen.
    • Doing business is a great way to start team building with upper classmen and you also get something immediate from the exchange.
    • Teambuilding within your class is more about personalities and projects than money.
    • Once you get to know them figure out what you can do for them to deepen the relationship.
    • We have had many writers trade construction work and such for studio time. Pretty cool.
    • Interns who work tirelessly to be on the inside. (Our interns freaking ROCK, btw!)
  2. Eliminate the dregs
    • Friends who would take a bullet for you are not necessarily good for the team if they don’t add value.
    • Loyal band members are of no use to you if they are the weak link in the band and can’t play. Is there some other place in the organization that will exploit their highest and best use?
    • You need a killer live show; a good team is paramount to that.
  3. Understand the nature of the beast
    • Booking agents work off of a percentage (unless you can pay them)
    • Managers work off of a percentage (unless you can afford a salary)
    • These people will come to you in droves when you are ready for them so stop lamenting the fact that you don’t have them yet.

Get in the game.

 

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Artistic Journey Your Journey Begins Now

 

By Johnny Dwinell

I’m always thinking about artists.  An artist’s success is quite literally paramount to our success at Daredevil Production, LLC.

Last night I was watching Howard Stern’s movie, “Private Parts”, for the umpteenth time but with a whole new set of eyes; artistic eyes.

It turns out this movie is an awesome articulation of an artistic struggle to the top.Artist Journey Private Parts image

I wanted to break it down in that perspective because I feel it’s really enlightening.

If you have seen this movie and you are an artist, watch it again and apply this perspective to your artistic struggle.

If you haven’t seen the movie yet, watch it and connect the dots.

****SPOILER ALERT****

Howard learns early on what exactly he wants to do in life

Howard is an unattractive, socially awkward geek with balls so big I swear they rode shotgun with him whenever he drove.

Still, he was unattractive, and socially awkward; sound familiar?

He dove into the local radio DJ scene at his college.

He sucked because we all suck at the beginning.

Artist Journey Suck MeterHoward’s on-air personality was this lame interpretation of who he thought he should be. He was emulating all the crap he was constantly exposed to.

He was fake in the beginning man. Essentially posing, but driven.

Don’t we all start this way? Emulating?

Howard graduates and goes to his first station gig where his boss tells him that he sucks at his art but he’s reliable so he promotes him to Program Director for 2.5x the money; a position which has nothing to do with his artistic dream.

Howard takes the money; he’s human after all.

Then he regrets the upward move and explains to his new wife that he needs to be a DJ again which means less money; his wife supports himArtist Journey Fred Norris and he quits the highest paying job he’s ever had.

They move to Hartford, CT. where he meets an early Stern team member, Fred Norris.  This is huge because Fred was the first person willing to “play in the sandbox” with Howard.

Then he had his first artistic breakthrough.

Howard had an embarrassing moment where he was caught lying on air.  He admits to it publically after the fact and realizes that when he was honest, forthright, and open about himself, he was better.

Artist Journey Time For Your Breakthrough imageHe didn’t quit after being embarrassed.

When he was himself he was compelling because he was unique.

When he was unique he scared people, namely his superiors in the beginning because there wasn’t really an audience yet; they didn’t trust it.  That’s because they didn’t get it.

There wasn’t an audience yet, because it was new, nobody was doing it.

Sound familiar?

Howard pissed off his superiors until his artistic vision began to get a little traction, their ratings constantly improved in Hartford.  This allowed Howard the wiggle room he needed to hone his craft.

Listen to this, man, the beginning of the upward climb to this undeniably iconic career was littered with tough decisions and failure.

The battles NEVER stopped, in fact they just got bigger with more to lose each step of the way.

Sound familiar?

He screws up with his wife in Hartford and hits a major speed bump in their relationship; epic fail.

On the evening Howard tells his wife about a new job opportunity he was offered in Detroit, a much bigger market than Hartford, she confronts him and dumps him.

Howard moves to Detroit without his wife or Fred. A definite step backward…or was it? I’ll bet it felt that way in the moment.Artist Journey Optimist is 1 step forward and 2 steps back is a cha cha

In Detroit, miserable and with nothing to lose, Howard starts to really hit his artistic stride.  He learns that being real while covering divisive subject matter is his lane.

He’s moving past emulation and coming into his own.  He did this through work.

He also learns that his new artistic lane comes with pushback from the powers that be; it’s foreign to them and unproven at this point. He had to believe in himself to endure the climb.

Then there was a monumental setback that was out of his control.

The Detroit station decides to change from a rock format to a country format. He makes a tough decision to leave Detroit to stay true to his lane.

Big BALLS!

His next gig in Washington D.C. is where Howard meets Robin Quivers who was destined to be his now famous sidekick.  He loves the way she riffs with him from the first day.

Artist Journey Robin QuiversNew band member.

His decision to leave Fred behind (temporarily) pays off with a new KEY member of the team.

Howard continues to hone his craft because it’s a craft. He uses his hardships to his advantage by sharing themArtist Journey Without Craftsmanship Inspiration is a Mere Reed Shaking in the Wind with his public following; something no other DJ’s were doing.

He also inherently understood what most artists don’t these days.  The radio station wasn’t going to make him an artist, rather, it was the other way around.  In fact, he looked at the Detroit station changing formats as a failure on his part; he took responsibility for it. His artistry was going to have to create the audience that would make the radio station successful.

He was going to have to create his own opportunities.Artist Journey Musicians Create Your Own Opportunities

Howard’s superiors continue to hate him because all the major sponsors are bailing out due to the “shock value” of his act. Howard continued on with his vision in the face of complete adversity and then the ratings come out; He’s #1 in D.C.

He uses the ratings momentum to pressure the upper brass into hiring Fred.

#1 in D.C. means that Howard obliterated all the local competition which happened to be NBC.  That leads to a job offer from the #1 market in the country which is New York City.  This move came with a HUGE paycheck piggybacked by HUGE pressure to conform to a new, larger market with bigger suits who had more to lose with Howard’s shtick.

Artist Journey Plot TwistPolitical plot twist; Howard WAS in fact hired because of his talent that took him to #1 in D.C.  However, he was hired by suits who were pissed about losing their ratings position in Washington to Howard’s act,  not because they liked it or even heard it.  He was hired on ratings alone.

He just proved himself in D.C. got the big promotion and HAD TO PROVE HIMSELF ALL OVER AGAIN!

All the same shit with monumentally more pressure, more at stake than he ever had before, including a pending family.

Get it?

New, crazy business scenarios form in the way of the highest NBC brass expressing hostility over Stern’s act, and thus firing the executives who made the hiring decision. They couldn’t fire Howard because contractually they would have to pay him a boatload of cash.  They had to get him to quit.

An NBC executive agreed to torture Howard to the point of leaving…which ultimately led to Robin Quivers, his highest ranked sidekick getting sacked in the crossfire. This lead to Robin hating Howard for the perceived betrayal because Howard made the executive decision not to quit with her; Howard stayed to keep fighting.

Ultimately Howard goes #1 in New York City as well and Robin is rehired.  The rest is history.

This is show business people.  If you think there’s a threshold where you reach a point where you “get paid” and you can kick up your heels and relax; you sorely mistaken.

I promise you haven’t begun to fight. With every rung you climb on the ladder of success there are bigger and more challenging battles. This is why you have to love what you do.

You’re going to have to get used to challenges

Artist Journey Success What people think it looks like what it really looks like

Let me save you the suspense, you’re going to have to get used to challenges; they aren’t going away if you want to succeed.

 

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Give Up Don't you dare FEATURE

Did you ever notice how we only see success as success?  When we are first exposed to someone successful we initially only think about their success, right?

We covet a little bit.Give Up The Struggle You Don't See

We become envious.

Unless we are exposed to all the details of a personal success story, we don’t see (and we’re usually not told) about the struggle that preceded the success. We weren’t told about how many times they didn’t give up.

Every success comes with mountains of struggle

 

mountain-landscape-640617_castle_peI have news for you, EVERY success comes with mountains of struggle, endless hurdles, obstacles overcome, bullets dodged, etc.  There is ALWAYS a back story rife with failure, heartbreak, doubt, fear, second thoughts, and the fact that they didn’t give up through any of it.

Bottom Line: I can guarantee you’ll fail if you don’t try again.  Nobody can guarantee failure if you don’t give up. So, it’s a scientific fact that you can win if you don’t give up, but you will definitely lose if you quit.

The only thing that is impossible is what you don’t try to achieve.Give up Don't You Are So Close

What’s the worst that could happen?

You have to try again?

So what?  It’s worth it, right?

This dream of yours isn’t going to be easy. Simply put, if it was easy everyone would be doing it.

Here Are 10 Reasons Not To Give Up

  1. It’s All About Talent AgainGive Up You Bring The Talent 2

    As terrestrial radio continues to become less effective at breaking acts in the marketplace, the big hype machine disappears with it.  The ability to break a non-talent into super-stardom is waning fast.  Future stars in the music business must be talented to get recognized.  Don’t give up. You have talent. Talent will win in the end.

  2. Pressure = Creation

    Necessity is the mother of invention.  You thrive on pressure even if you think you don’t.  You are stronger than you think.  Rick Rubin on several occasions (most notably Weezer’s “Beverly Hills” and Tom Petty’s “It’s Good To Be King”) would wait until a week or so before the scheduled recording sessions to tell an artist he didn’t think they had a single…just to see what the pressure would create.  Never give up. Pressure creates diamonds, I know it’s cliché but that doesn’t make it any less true.

  3. Failure

    Give Up Failure doesn't come from falling downYou need failure, believe it or not.  It’s what teaches you how to navigate your career better. Failure is what teaches you how to win. Remember, many failures precede all successes. Just ask Michael Jordan who was cut from his high school basketball team; he didn’t give up. Sheryl Crow got a major label deal and recorded her first album only to scrap it completely before it was released. Of course, she was then sued by her label; this was before Tuesday Night Music Club. She didn’t give up. Thomas Edison failed 2,000 times before he nailed the long-lasting incandescent light bulb. He didn’t give up.  Henry Ford went bankrupt multiple times before he invented the assembly line. he didn’t give up either.

  4. The Pursuit

    Life happens as you make your way toward your goal; enjoy it.  This time in your struggle, these are the moments that you will remember forever.  Again, I know it’s cliché, but think about it, success is not a destination, it is the journey.  Especially in the music business, man, you are either on your way up or on your way down, there is no plateau where “things calm down” and you relax. Don’t give up. You want to make a living being a creative, which means you’re always creating.

  5. You Are Strong Give Up Stay Strong

    You are stronger than you think.  You have the capability to understand the fact that your career is always full of challenges, so EXPECT them and eat them for breakfast.  Success will come when you resign yourself to dealing with these challenges as challenges, not excuses.  1, 10, or even 1,000 setbacks are not enough to stop you, so don’t give up.

  6. If You Give Up On Yourself Everyone Else Will Too

    Listen, ALL successful people have overcome incredible odds and unbelievable struggles to get where they are; you just aren’t aware of the back story.  These prosperous people deeply understand that success is a mindset.  They surround themselves with positive, like-minded people.  They view quitters as a cancer or an STD.  When you project negativity or a quitting vibe it pisses successful people off.  It pisses them off because it scares the shit out of them.  It scares them because they KNOW failure is just 1 negative thought away.  Don’t give up.

  7. There Is No Overnight Success

    No great thing was created overnight.  Many years of work went into every success before it ever came to your attention. Don’t be naive. Don’t give up.

  8. You’re Just A Few Tweaks Away

    Sometimes a few tweaks and adjustments to a plan are all that it takes to make a giant leap forward.  We lost $8,000 on my band’s first tour because I didn’t know what I was doing.  A few tweaks coupled with a clearer understanding of the game, and our second touring experience had us making a living on ½ the gross revenue! Don’t give up. I failed first, learned, and then got better; you can too.

  9. You Can Change The Industry ForeverGive Up The Struggle Your in today

    Make your dent, man.  Florida Georgia Line had the BEST songwriters in town and a proven KILLER producer behind their project.  All the record labels still said “NO” because FL/GA Line was too different.  They went to Satellite radio where “Cruise” became a smash hit, and after a little tour, they sold 100,000 downloads.  Then every label that said “NO” was saying “YES”.  The record, the production, the band, the sound, and the songs didn’t change.  The only thing that changed was the perception. They didn’t give up when everyone said no. Don’t give up.

  10. Let the Haters Hate

    The more you succeed the more haters you will have.  Think of them like little trophies, assuming you’re not a douchebag it means you’re doing something right.  Don’t give up.

Give Up Do It For The People Who Want To See You Fail

 

Give Up It's hard to wait for something that may never happen

 

Give Up You Can't Go A Day Without Thinking About

 

 

 

 

 

 

 

 

Give Up You Are the creator of your own destiny

 

PS: If you haven’t already downloaded my PDF, Whoever Owns The Traffic, Rules The Road, you’re missing out on core information that will help you start asking the right questions about how to dominate in the new music industry. Go to GiftFromJohnny.com put in your name and tell us where to send it.

 

 

 

By Johnny Dwinell

 

prag·ma·tism

[prag-muh-tiz-uhm]  Show IPA

noun

character or conduct that emphasizes practicality.

a philosophical movement or system having various forms, but generally stressing practical consequences as constituting the essential criterion in determining meaning, truth, or value.

 

Pragmatic Pragmatic MLK image

 

Utilitarian

 

Sober

 

Realistic

 

LogicalPragmatic Bono Quote image

 

Practical

 

Efficient

 

Down-to-Earth

 

Pragmatic To Do Image

Businesslike

 

I am wondering, how do you run your career?

 

I am wondering, how do you approach your art, your talent?

 

Many of you are suffering artistically and stagnate in your careers because you are trying to be something you’re not.  Some of you are pushing for things you think you need to do and ignoring the lanes that options that will bring actual momentum to your career.

In short, many of you are creating your own obstacles unnecessarily.

Yes, it is much easier and quicker to start a fire with a blow torch or flame thrower, but if _MG_2855you don’t have these things, then the more pragmatic approach is to set up smaller kindling wood stuffed with newspaper. The paper burns immediately catching fire to the kindling which catches fire to the big logs in your fireplace; then just keep stoking.

 

You can choose to lament the fact that you don’t have a flame thrower/blow torch which results in no fire, OR you can work with something more practical, something you do have, and the end result is a nice fire.

 

 

 

EVERY ARTIST has their strengths and weaknesses.

 

Accentuate the positive, eliminate the negative.

An artist really is not going to gain serious momentum until they can objectively sit down and pragmatically determine where the strengths and weaknesses are in their live show, recordings, images, lyrics, melodies, market approach, business plan; their art essentially Pragmatic Madonna Album Cover image

Madonna is an Icon.  She isn’t a good singer.  She’s a good dancer, a great business person, and a great entertainer.  Her live shows do not focus on her singing do they?

She focuses on her strengths.

Ray LaMontagne has a voice that is like butter.  He is an AMAZING singer/songwriter.  Listen to his tracks.  They are decidedly arranged with space.  Space that allows that voice and those lyrics to easily shine through and change your life; that’s how he touches you.

 

He is accentuating the positives.

Pragmatic Ray LaMontagne Image 2

Ray is not trying to blow you away with vocal acrobatics.  That is not his lane and he knows it.  His lane is in the tone and the story, like Stevie Nicks or Rod Stewart.  These kinds of voices just need to sing good songs and the tone feathers out in your chest like a really good scotch.

 

If you listen to pop music with a pragmatic ear you will notice that many of the artists can’t sing.  Consequently the musical arrangements around their voices are akin to a sonic circus.  By design, they don’t really want you to focus on the voice all that much.  It’s more about the hooks and the feel.  Pop music has always been lyrically “light” so much that the words don’t even have to make sense, they just has to sing well; remember Phil Collin’s “Sussudio”?Pragmatic Phil Collins Sussudio image

Two different approaches.

Each approach is appropriate to the artist and genre, yes?

Are you pragmatic with your songwriting?  Do the songs you write fit your vocal range and style?

Are you pragmatic with your live show?  Does your show accentuate your positives and eliminate the negative?

Are you truly a captivating act?

Are you pragmatic with your sonic production and arrangements in the studio?

Pragmatic Tony Robbins Resourcefulness image

 

Are you overplaying?

Are you over-singing?

Are you over producing a great voice?

How about your marketing approach?

Pragmatic is about focusing on what you do have instead of what you don’t.

Be pragmatic.  Get momentum.

 

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No Excuses Feature Redo

People hate it when I talk about this subject. Mostly because everyone has some festering sore spot in their life where they felt like they coulda, shoulda, woulda, but made an excuse and never did. So having a serious discussion about excuses causes people to relive their most catastrophic or most painful failures which in turn pisses them off.

I get it.

Do you know why it pisses them off?Excuses Are The Tools Of Incompetence

It’s because they knew better. It’s because, deep down, they knew that there was more they could have done, but they chose to make an excuse.

They chose to give up.

They succumbed to their moment of doubt.

They behaved weakly.

I have some to be sure. They don’t feel good when you live them and they certainly don’t feel good when you relive them. I submit to y’all that there is exactly ZERO people on this planet that do not have a sore spot left from an excuse.

Excuses Before After Weight loss imageHere’s the key part of this concept EVERYBODY has at least one moment where they wish they would have done something differently, ya know?

The difference between the successful people and the people who seem to get stuck living in the past or making the same mistakes/excuses is that the successful people learn from the error in judgment and move on.

Successful people grow.

They learn that the difference between an excuse and a challenge is simply perspective.

Now you’re thinking about your moment of doubt and you’re deciding whether to continue reading.

Again, I get it.

My dad always told me that excuses are like butts, everyone has one and they all stink. (He always used more colorful language)

Yes, I know, there are definitely valid excuses. Real good reasons that something didn’t get done.

There are also crappy, weak, excuses. Real lame reasons why something didn’t get done.Excuses Are For People Who Don't Want It Bad Enough

It is a FACT that all valid and all lame excuses have the same outcome; something didn’t get done that should have been done.

Another way to articulate this fact is to say that whether one has a valid excuse or a weak excuse the damage is exactly the same. Something doesn’t get done.

Another really HORRIBLE fact about excuses is that they always imply failure. They precede giving up. Excuses become the trumped up reason to quit.

Excuses make it ok to fail at your goals and dreams.

Excuses make it ok for life to happen to you instead of the other way around.

A challenge is processed COMPELTELY differently in the subconscious mind.

If one thinks of any roadblocks as a challenge they are framed as an obstacle that is delaying the execution of a certain goal or dream.

See the difference?

An excuse is subconsciously thought of as “Here’s the reason why we failed.”

A Challenge is subconsciously thought of as “Here’s the reason why our success is being postponed.”

With an excuse there is no need for further action; game over. (This is why people like them so much)Excuses Don't Limit Your Challenges Challenge Your Limits

A challenge REQUIRES additional effort.

(This is why people don’t like them)

Thomas Edison could have had 2,000 excuses why he couldn’t make the light bulb. Instead he viewed them as 2,000 challenges that got him closer to his goal.

Oh yeah, and then he made the first practical, long lasting, incandescent light bulb.

Excuses are toxic and nonproductive. View them as the most horribly addicting drug that will ABSOLUTELY, UNDENIABLY ruin your life.

You should seriously treat excuses as something life threatening like the Ebola Virus that should never to be put in or around you.

Challenges are a pain in the ass.

Challenges make us uncomfortable.

Challenges delay success.

But challenges alwaysprecede success.

One cannot have success without challenges.

One cannot succeed with excuses.

Are you busy making excuses or are you busy dealing with challenges?

Excuses Challenges Make Life Interesting

Excuses Mom with 3 ChildrenExcuses Handicapped Kid Image

Excuses Olympic Discus Thrower

Excuses Stop Making Excuses image

 

 

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Skeptic Feature image

 By Johnny Dwinell

Lately, I’m proud to say, many of my articles have been reposted by some resource sites that have far greater traffic than ours does. Every so often, I get a wild hair and a little extra time that directs me to read some of the comments people leave about my blog posts. This is a rare occurrence but interesting because, while I receive and reply to all comments on Daredevilproduction.com, I don’t get “pinged” when comments are posted anywhere else. Additionally, one cannot directly reply to any comments on these sites.

Reading the feedback on any given post is usually motivating because most people get the information or at least find something in there that inspires them, teaches them, makes them aware, etc., and they make a point to say so.

…and then there is always at least 1 skeptic.

At least one person who takes the time to spin or trump up some undesirable angle so he/she can poo-poo all the information and go on about their life and career as-is with no meddlesome disruptions that would threaten their current understanding of how the music business works.

I am still an artist and will always have an artist heart

I want to thank anyone who takes the time to remark on the positive and/or helpful info that they received from my articles. Even though I operate at high level on the business side IMG_8642of my brain, I am still an artist and will always have an artist heart. That means it’s wounded pretty easily from disapproval and nourished by positivity.

While I totally understand that being divisive on certain subjects is a good thing (negative comments means I’m touching a nerve somewhere right?), I must admit that the adverse interpretations get me thinking a lot; sometimes too much. I guess I just can’t help wanting to please everyone.

 

Yesterday, I was reading the comments on an article called 20 Biggest Marketing Mistakes. I experienced mostly great comments and, of course, 1 skeptic.

This skeptic trashed all the information because, in his head, we were selling something.

If you’ve already read it, #18 in the article stated “You won’t pay for coaching” as a mistake. The skeptic then summed up the whole article as a hustle to lead people into paying us for coaching.Skeptic LEARN image

Everybody needs to be educated. Especially in an environment where the targets you must hit to survive are constantly moving. If you can get free coaching a.k.a. on-the-job-training or an internship, God bless! The rest of us will have to learn somewhere else or suffer through doing the same ineffective routine that gets us the same, useless results. Btw, isn’t college paid education/coaching?

So THIS thought got me thinking about how and why the consummate skeptics self-sabotage. They don’t want to find the answers because that would mean they would have to stop complaining and actually show up for work.

Showing up for work means they would have to take responsibility for the results.

A level of skepticism is quite healthy. We definitely need a “devils-advocate”, if you will. We believe in this concept so much at Daredevil Production, LLC that Kelly and I regularly practice skepticism against any new ideas we bring up. We actually try to blow holes in the concept to test their strength and validity. The difference is that the skepticism is served up in a positive spirit of finding the truth rather than some hostile rant of pure negativity.

But like anything else in life, too much skepticism is the opposite of healthy.

It’s debilitating. Sometimes this is unconscious, and sometimes people are just downright angry, evil, and bitter so they do it intentionally.

Either way, the damage to the skeptic is the same.

skeptic don't be afraid move forwardThey don’t move forward.

Skeptics will typically label themselves as “unlucky”, that’s one big reason they are so damn skeptical.

The definition of luck is the intersection of opportunity and preparation. Now, as you read that your eyes are glazing over.

True as it may be, It’s a cliché isn’t it?

 

As artists we want to believe in skill and talent.

The truth is that skill and talent will always get you more “at bats” in life, but it certainly does NOT guarantee success.

The other truth is most artists require a little more validation (I use “a little more” in the same way a bar would use “free beer Skeptic Free Beer Tomorrow singtomorrow”…it never comes) before they really get to work on the preparation part of the equation.

Too many artists are waiting for the opportunities to present themselves before they invest in the work portion of the formula.

So the “Luck Equation” is changed. When it’s changed the opposite happens; you get unlucky. Then I guess you ultimately become a skeptic.

Let’s look at luck and skeptics who consistently feel unlucky from a different perspective. I was reading an incredible article about Survivorship Bias. This article was LONG but so worth the read. It focused on the human proclivity for noticing and therefore studying winners simply because winners are more visible than losers.

Skeptic You are not so smart imageFor instance you want to open a restaurant because you see so many successful restaurants in your neighborhood. What you don’t see is that 90% of restaurants fail.

You want a record deal because you see all the successful artists and they inspire you. What you don’t see is that 90% of signed artists fail. It’s always been that way.

Get it?

In this article there was a portion that basically attributed all successes to luck. Which is disturbing at first glance, until you consider the following facts:

  • Luck isn’t fairy dust
  • Luck isn’t a mythical force where the Gods determine the haves and have-nots.

There are many scientific studies that show luck (and Luck’s opposite which leads to skepticism) to be a measurable output of a group of predictable behaviors.

While randomness, chance, and the noisy chaos of reality may be impossible to predict or tame, luck and therefore skeptics are something else.Skeptic We only regret the chances we didn't take image

Huh?

Luck and skeptics are the results of a human being consciously interacting with chance.

The example given in this article was compelling. These scientists followed the lives of 400 people of all ages and professions over a 10 year period. The scientists found these people through newspaper articles that asked for subjects to apply if they thought of themselves as generally very lucky or generally very unlucky. The subjects were asked to keep diaries, participate in experiments, and be interviewed over the course of the decade.

In one such experiment, the subjects were given a newspaper and asked to count the number of photographs inside. The people who labeled themselves as generally unlucky took an average of 2 minutes to complete the task.

The people who considered themselves generally lucky took an average of a few seconds.

The scientist had placed an ad in GIANT BOLD LETTERS on the second page that said “Stop counting. There are 43 photographs in this newspaper.” Deeper inside the scientists placed another ad with the same sized text that read, “Stop Counting. Tell the experimenter you have seen this and win $250.”

The people who were unlucky (a.k.a. the skeptics) usually missed both. (I submit that if this experiment was performed during the internet age they would have “commented’ on how the test was unfair, fixed, a scam, and somehow partial to the lucky group)

The scientists observed that skeptics are narrowly focused

They crave security, tend to be more anxious, instead of wading into a sea of random chance open to what may come, they remain Skeptic Fearless Focus imagefixated on controlling the situation, on seeking a specific goal.

In the case of the skeptic who commented on my article, he did exactly ZERO research because he was narrowly focused on finding the angle, finding the moment where we ask for money; which in his interpretation devalued the information. This goal of his, distracted him from all the possibly educational content.

If our skeptic did any research he would know that Daredevil Production, LLC is in the artist development business. We don’t charge for and put on conferences of any kind; it’s not our business model. If he read that article again, he would also pick up that Kelly and I were panelists not the hosts at the mentioned conference. Furthermore, he would have read that we made many relationships with some amazing new writers we met at this conference. In fact, we have already placed one such writer with an artist we are developing (they’re getting along famously so far)

So I guess that writer who paid to attend the conference is just lucky, right?

And our skeptic remains unlucky due to an overwhelming need to find an “angle” with every opportunity or piece of information. If it requires money it must be bad, right?

To be clear Mr. Skeptic, what you “See” as a music fan is:

  • An interview or two from your favorite artist.
  • You hear probably 1 live radio interview on whatever local station you listen to.
  • You see your favorite artist in 1 appearance on your favorite late night TV show.
  • It seems really grandiose and adoring for the artist whom you aspire to be like.

Mr. Skeptic, what you don’t see is:

  • Your favorite artist doing weeks of 12 hour days that consist of nothing but interviews for every print magazine, newspaper, blog spot, radio station, and podcast on the planet.
  • Your favorite artist does weeks of radio tours hitting every station in everybody’s home town.
  • Your favorite artist appears on ALL the late night TV shows, ALL the morning talk shows, and ALL the mid afternoon talk shows.

Oh, and Mr. Skeptic, there’s the final nail in your “integrity coffin”. Your favorite artist deserted-town-old-west-casketsuffers through weeks of interviews answering the same, monotonous, lame questions, over and over. They endure tons of travel to get to a new city to answer more monotonous, lame questions on a radio tour which could ultimately be described as, GASP, sales calls!

Yes, Mr. Skeptic, your favorite artist has the very thing you so diligently seek to dismiss every experience and every educational opportunity, the one thing you despise most on this Earth; an angle.

Your favorite artist wants to sell records and concert tickets.

Sorry.

The moral of the story is be a little skeptical because it’s healthy, but don’t be a skeptic.

The bad news is if you are bitter, sour, and too skeptical it’s your own damn fault.

The good news is you can change it if you want.

 

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Power image

First of all, a big shout out to Brent Baxter for a killer post last week! Thanks Brent (I totally needed that! Let’s do it again)

The last blog that I wrote 20 Biggest Music Marketing Mistakes I touched on the concept of implied power.

I want to dissect this concept a bit more to demonstrate how important the delivery of your message is regardless of value of the content.

I keep seeing artists and artist promo teams at all professional levels make thefile0001719225336 same mistakes with regards to communication errors and developing relationships online.

Too many people think if the message (music) is good and the message (music) is true, everyone will accept it.

This is false.

You have to understand your position in the exchange first.

Then you formulate the language to service the dynamic of the specific exchange for message to be effective.

Even within your music life right now, the message and the way you serve it up definitely file000766340476has to change depending on the situation if you want it to be received.

To truly receive information, people need to be in an emotionally open space where they feel either curious, safe, subordinate, or intrigued. It’s your job as the communicator to understand this dynamic and frame the appropriate stage for your message to actually be heard.

Communication is not the intent of your message but what is actually being received.

 

If they aren’t getting the message, it’s the communicator’s fault.

Until you internalize this FACT you will continue to view social media as a frustrating, foreign mystery and you won’t sell anything.

Then the artist voice of doubt enters your head. Ewwwwww.

Don’t worry, you’re not alone I see massive social media companies working with multi-platinum artists making these same mistakes. They make them honestly because they are used to effectively communicating to masses or a crowd with implied power.

When they apply sales language reliant on implied power to a private exchange such as the 1 on 1 interactions on social media or email, it has the exact opposite effect.

One of P.T. Barnum’s famous quotes is “Nothing attracts a crowd like a crowd” (at least I think it was Barnum). It’s PT Barnum Power imageabsolutely TRUE.

Whether you wade in the shallow end or swim in the deep end of the gene pool, you are a human being and therefore wired up to respond with some level of curiosity.

Maybe you walk over to the crowd with a totally open sense of wonder and complete gullibility.

Perhaps you are not gullible and walk over to the crowd with supreme skepticism, but you walk over; that’s the point.

Now, if the message drawing the crowd is consonant to any interests you may hold, you stay. If it isn’t, you leave.

But you walk over.

In the 1800’s that crowd might have assembled around a stump where a man was selling snake oil, tickets to the circus, or Power Politicking imagepoliticking. When you walk up on a person who is on a stump with 30 people around him, this person has implied power.

After all, why are these 30 people gathered around him?

What is he saying or selling that is keeping their interest?

Curiosity.

Intrigue.

The fact that people are there creates a subconscious referral of sorts because you see these people with your own eyes. There is also more of them and only one of him.

Safety.

Many years later we amplified that implied power with mass broadcast technology like terrestrial radio and television. In these communication scenarios, the implied power is magnificently influential in swaying consumer buying decisions.

Therefore, hype works. Over the top energy is not only effective but expected.

After all, the communicator must be someone really important because they were on the radio or on the TV, right?

Subordinate.Power Subordinate image

Here’s a real example of having a great product, message, truth, etc., but COMPLETELY different results selling it based on a strategy change in communication techniques and language.

When I was in the mortgage industry, the market was real hot; everybody was in the mortgage industry. There were these trigger leads that generated whenever a consumer would have their credit pulled by a lending institution. The 3 credit bureau companies would sell this information for about $1 or $2 per lead. Agents would have no relationship with these consumers but they did know for a fact that these people were thinking about getting a mortgage.

They were cold calls, to people we knew were in the market, man.DSC00769One day I reached this guy around 6PM or so after work and I gave him real good phone.

I heard this honest “sigh” on the other end.

I immediately asked if he had a bad day.

He responded, so sincerely, by telling me he had an answering machine and the digital display told him I was the 70th unsolicited cold-call that day trying to sell him a mortgage.

I thought there must be better way to communicate, this is ridiculous.

I had a recording studio

I recorded a radio show and bought some time on a radio station.

Same product

Same person

Now they were calling me.

I had implied power.

I was able to be more of my boisterous self on the radio which (most) people love.

Consumers were willing to accept my whole personality because of the way they were exposed to it.

In the midst of a market being overwhelmed by salesmen clamoring to gain consumer trust, I rose above din and offered up educational programming to people with an 800 number to contact me and it worked.Power No Cold Calling Zone image

I was able to create relationships by giving them valuable information.

They responded by giving me an opportunity earn their business.

I didn’t make a cold call after that ever again.

Get it?

Here’s the key, once I got them in the room the tone and message had to change because I was no longer on the stump so-to-speak; we were in a 1 on 1, private meeting.

Now I had to completely change my approach due the vastly different arena because hype or big, boisterous tones weren’t going to work in a private setting. In fact, hype and big boisterous tones would have the opposite effect and turn the consumers off immediately.

Let’s apply this example to your music and how to serve up your message with educated anticipation as to the way the information will be consumed.

When you are opening for an artist with huge draw or maybe you’re an artist with a huge draw you are in front of a crowd. You can be more boisterous, you can hype because you have implied power.

You’re the center of attention.

Power Axl Rose On Stage imageAfter all, you must be somebody important to be on that stage right?

Incidentally, the term huge draw is relative. What’s important is the feel of the crowd; the energy. If you can draw 100-200 people make sure you’re playing a place with a capacity of 100-200 people so the joint is packed.

 

The more packed it is, the more power you have. Get it?

 

Here’s the biggest mistake everyone continues to make. The language, hype, and energy that will work and effectively communicate a message on stage will NOT work on social media or email exchanges; because they are private conversations, they are consumed 1 on 1.

Your implied power is gonePower One on One Sillouette image

Now it’s about THEM

Exclamation points are a NO-NO on social media and email interactions. They’re a turn off. They say SALESMAN.

Do you want to be perceived as a used car salesman?

Everybody wants to buy but nobody wants to be sold.

If you recall my story about the mortgage radio show, I said the radio show gave me an opportunity toearn their business. It very rarely gave me their business.

All too often I see artists create a relationship on social media and immediately ask for the sale.

This is too soon to close the deal.

You have to deepen the relationship first.

If your product is good, and your message is appropriate, and the message is served up in a manner suitable to the exchange, the power will come.

Just give it time and attention.

Most social media and email exchanges in the music industry remind me of a scene from Monte Python’s “The Meaning of Life”

“What’s wrong with a kiss, boy?” “There’s no need to go STAMPEDING towards the…”

Watch the video up to 2:45. It’s hysterical.

 

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