Tag Archive for: Team Building

4 Career Team Building Tips

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It’s impossible if you’re working from a playbook that is ineffective because it’s outdated, naïve, ignorant of your strengths and weaknesses, and non-responsive to the constant industry changes.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

By Johnny Dwinell

Do you?  Are you paying attention to the losers to learn from them or just the winners?  I sincerely hope you are all really researching the marketing methods I gave you the broad strokes on in previous blog posts.  This is MISSION CRITICAL that you get this.

Why?

This is how you will actually make a living.  If I told you that you could replace your crappy $30K per year job that Losers winners imageyou suffer through to work on your music, with revenue FROM YOUR MUSIC, would you quit your job?  That’s a No-Brainer!  The only way that is going to happen is if you change your outlook, stop coveting the rock stars.  Stop coveting the old music business and market your music INTELLIGENTLY in the NEW music business!  If you keep doing what you’ve always done, you’ll keep getting what you’ve always got; and how’s that working for ya?

 

Far too many of you are still so naïve as to think that you just need to record that demo of your 3 cool songs and then someone important is going to hear them and sign you.  WTF?  That business model went out the window 10 years ago.  Record labels USED to find talent and develop that talent.

But then again, record labels USED to make money selling music.  (Btw, do you see the dichotomy here??  If you are the millennia generation, you want the music for free but yet, you still fantasize and believe in the old record business model which was only financially capable of developing talent with the MONEY THEY MADE FROM SELLING MUSIC??  LOL, but I digress.)  So you have to recognize that your music no longer matters to the major labels because they cannot afford to develop you.  It doesn’t matter if you’re more talented than Prince, THEY JUST DON’T DEVELOP ARTISTS ANY MORE; IT IS NO LONGER THEIR BUSINESS MODEL.

You have to develop yourself.

You have to create a PROFITABLE small business that the major labels will be interested in investing in.

I would like to touch on the old record business in this post though.  I want y’all to explore the reality of the old record business.  I think once it really sinks in, the reality of the shitateous chance you had to “make it” in the old record industry, it will be easier to embrace the new record industry.  It will be far more attractive to embrace the mathematically predictable reality of online marketing.

How are we going to do that you ask?

By studying the losers; FYI, there’s a lot.

Read this article.  It’s a little bit of a long read, but if you have a brain, it will be well worth it.  If you are a person who chooses to think rather than just believe you will make the correlation.  This article is not about the music business but about a phenomenon called Survivorship Bias.  In short, we don’t covet the losers.  We covet the winners.  Thou Shalt Not Covet!!  This article is about learning as much as we can from the losers just as we learn from our mistakes; just as we learn from our failures.

Here it is:  http://youarenotsosmart.com/2013/05/23/survivorship-bias/

Now, how does this associate with the music business?

What do we have to learn from the losers?

For starters, let’s talk about how many of them there are; 90% is an accurate number.  Back in the “heyday” of the record business, when the labels make billions selling records, only 10% of the artists signed to just about any label made any money.  CBS (now Sony), Warner Bros., Atlantic, Polygram, A&M, Elektra, Epic, all had hundreds of artists that were signed to their respective labels and only 10% of those signed artists made any money.

Only 10% were profitable.

Wow.  Talk about planets aligning; you used to need the whole freaking Universe to line up to make any money at all.

Let’s really put this in perspective.  I was a “hair-farmer” back in the day, an 80’s metal band front-man, and I STILL love 80’s metal bands!  I loved going to the concerts, I loved seeing them kick ass and shred (or NOT lol) live!  (Check me out HERE if you want a little giggle)  I was SO disappointed when I discovered the evil truth…

Most of the bands I saw were in debt.losers debtor prison image

Most of the bands I saw had the record, made the video, were on tour, were doing tons of media interviews, they were living the rock star life style, they were living my dream, and they were deeply in debt.   Man, all that work to get through the velvet rope, to get yourself in the door and POW, you’re broke.

Want some proof?

Check out this article on RIAA accounting practices for the bands with major label deals HERE

Want some more?

Here’s a great article written by Danny Goldberg (Google him), he was one of the heavyweights back in the day.  Pretty grim, read it HERE

A Radio Promo Budget Doesn’t Mean Success

I submit this to you artists that have any kind of brain at all; why the fuck would you want this?  Why would you want to deal with this when you can make WAY more money selling 70,000 units yourself than you can selling 700,000 with a major?  What’s that?  Oh, you wanna be on the radio?  In Country music radio still rocks, radio still breaks new artists, but by the time you get there nobody will care.  Nobody will be listening; just like nobody gives a shit about the network news anymore.  So why bother on a million dollar bet?  That’s right a BET!  Ask me, I’ll tell you!  Just because you get a major label record deal and they spend 1 million dollars to promote you will not guarantee that you will get any spins.  It does mean you will get a ride, maybe about 6-12 months, and then it’s over and you are in what we affectionately refer to as the “Artist Protection Program”.  Locked away in a deal and nobody cares; nobody can hear you screaming either.

Why would you do this when you can PREDICTABLY make money online??  You just have to figure out how.  It’s not rocket science.   For you artists who hate or simply can’t imagine the art of business, FIND SOMEONE who does!  $70,000 CD’s sold at an average of $7 gross = $490,000.  After expenses, after the necessary BS and cash flow required to sell 70,000 units, splitting the profit in 2 is still way better than never ever seeing a dime from a major label.  Right?

Just ask the RIAA and Danny Goldberg.

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