Asking The Right Questions And Being Clear On What We Do

Asking the Right Questions

I read a lot of different material.  I believe that reading is, at least, as important to what I play as what I listen to – just as I would also say that what films, and television I engage in is equally important.  This goes back to some of the statments echoed in Swami Childvilasanda’s The Yoga of Discipline (yes I had to go to my book shelf and pull down my copy to get the spelling of the name correct, which talks about how important it is to be vigilant about what we expose ourselves to because it all influences (and ultimately becomes) a pat of us in some way.  The book is a collection of essays on discipline (discipline in Seeing, Listening, Eating, Speaking, Silence and Thinking) as a path towards spiritual liberation. It’s a very interesting book and one that had me take several lessons to heart.

With that in mind, I tend to do a lot of reading on a lot of different topics because I find that I’m able to implement ideas or strategies from a business book in a different way than, say learning a melodic minor lick to play over a chord progression.  In this case I was reading a 99U book, Make Your Mark The Creative’s guide to building a business with impact and came across a Tim O’Reily quote that engaged me.  I’m going to hijack that quote, bracket one term that can be replaced with practically anything and add bolded emphasis for what I think are the two critical takeways:

“I was in a brainstorm about the future of the US economy recently , and it was all about the decline of the middle class.  It reminded me of so many  conversations that I have had with [*major labels].  They ask, ‘How are we going to preserve our place in the ecosystem?’ and I say, ‘Nobody cares about that.  That’s the wrong question.’  The right question is, ‘What does the world need?  What do my customers need?  What can I do?’….So you have to clarify: Who is your actual target?  What are you trying to accomplish in the world?  Everything else should flow from that.”

* This was originally [publishers], but could also be [live music venues], [musicians], [artists] etc. etc.

(For what it’s worth, here’s a related quote from the same interview that you may find interesting:

“Aaron Levie of Box tweeted something great about Uber recently.  He said, ‘Uber is a $3.5 Billion lesson in building for how the world should work instead of optimizing for how the world does work.'”)

This is something that so many artists, including myself, frequently get wrong.

We make it about us.

When asked the question, “why” we (as in we musicians and artists) often focus on what we do. We set up a scenario that works on the idea that because we are doing good work that the nature of that good work will attract other people – like bees to a flower.

That’s nonsense and I’m occasionally guilty of that thinking as well. “Nobody cares about that.”  That’s what people don’t realize about getting internet traction.  People don’t care about what you’re doing until you give them a reason to care. That means engaging them and making it something they care about.

If you’re a musician – it’s not all about you.

“The right question is, ‘What does the world need?  What do my customers need?  What can I do?”

I don’t engage people because I play guitar.  I engage people because I have something to say that they want to hear.  What we do as musicians is tell stories.  We move people.

People come to see us because of how we help make them feel before, during and after a show.  That’s what our customers need.  That’s how they become fans and come back to our shows.

What I work on technically is in service to that goal.  I work on those things so that I can express myself in the most honest and direct way possible and not have that engagement with the audience interrupted with mistakes or other issues.

I was reminded of this because I played a show with KoriSoron on Friday and it took me about four songs to get into the groove.  The volume levels were mismatched and I was distracted and it took a while to get into the zone (and even then it was hard to stay in the zone – realizing that I had counted off one tune too fast and was not going to be able to execute the ending figure cleanly at that tempo I had to re adjust the form to make it work).  Part of me was really disappointed with my performance that evening but the audience liked the show and will be bringing even more people with them next time.

Is it about me or my perception of the show?

“I can’t believe I wasn’t playing better!!  The audience will tear apart my performance (assumes Piper Laurie voice from Carrie, “THEY’RE ALL GONNA LAUGH AT YOU!”)!

Or is it about communicating something honest with the audience, being genuine in the moment and giving them an experience that they can take with them?  The audience liked the show, warts and all.  That doesn’t mean that I can stop and sit on my laurels and just slide – it means that I should keep working to the best of my ability but rather than getting hung up on one particular aspect that it would behoove me to remember why I’m practicing the things I’m working on (to make an optimum performance for the audience and not stroke my ego and say, “look what I can do!” to no one in particular.)

If you’re not getting the results you want from what you’re doing you may not be answering the right questions.  Once thing you can do is to harness the voice of your inner 2 year old niece or nephew (the one who always asks “why” after everything you say.)  When you state something, ask “why?”  and when you answer it, again ask “why?” and keep challenging your beliefs and assumptions until you get down to the core of what it is you’re doing.

A quick note and a quick plug:

For those of you who are in a rut and/or interested in developing your lead and rhythm playing I’m developing an exciting new group program that will help take you to the next level in the shortest amount of time.  I’m pulling the material together now and looking to launch later this year or the beginning of next year.

Please be aware that about the only thing in the world i hate is hype.  This is no hype or no miracle cure that “works” on osmossis or some other ridiculous claim.  This is a hyper-focused, results driven process that combines effort and efficiency to get players who are willing to put the work, time and dedication in to get where they want to go.

I’ve been doing a lot of research and I haven’t been able to find anyone that’s using even a remotely similar pedagogical system.

I’ll have more information about this in the months ahead, but if you’re interested in the meantime – send me at email at guitarblueprint at gmail [dot] com.

A quick plug (for those of you in the capital region of New York)

KoriSoron frequently collaborates with FCI (Festival Cinema Invisible) on their film series (Korisoron’s Farzad Golpayegani does the poster designs and I help with the press releases and event planning).

FCI is kicking off a cool new bi-monthly series “Pathways to Iran” that explores Persian culture through film and dialog with “Food Stories – Uncommon Recipes, Common Humanity” a film screening and recipe tasting at Proctors GE Theatre on Sunday, September 13th at 4pm.

This cultural event features a rare screening of two films from Iran; “Five Pieces on Iranian Dishes” (a documentary directed by Sepideh Abtahi, 54 mins.), which looks at Iranian society of the past century through food, and “A Perfect Meal” (a short directed by Pooria Jahanshad, 8 mins.) which uses a formal meal setting to examine food and culture.

After the screening there will be a panel discussion on the role of food in Iranian culture with audience Q&A and a recipe demonstration and tasting of various dishes from Iran.

1. Abgoosht: A meat based traditional, middle/working class food that now is turned into an adventurous favorite. There will be a demo of the food on one of the films, and the panel will talk about its cultural connection. There will be a tasting of Goshte Koobideh, a part of this food that tastes good even cold.

2. Borani (vegetarian): a mixture of yogurt and spinach with variety of nuts, was used as food, but today it is mostly served as dip.

3. Salad Shirazi (vegan): A uniquely Iranian salad which is also claimed by Israelis and Arabs. The organizer calls it the “Peace Salad” because of the stories he will share about his travels to Israel and Palestine.

Additionally, there will be handouts with the recipes for guests to take home: Persian style tea is also included in the $10 admission. Tickets are available at the Proctors box office or online at proctors.org/events.

(The next event will be on Sunday November 22 and will feature a performance by KoriSoron (!!), two very cool documentaries on music in Iran and a panel discussion with some special guests! Future events include the topics of Women in Iran and Outsiders in Iran.)

That’s it for now!  As always I hope this helps and thanks for reading!

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A Holiday Thought That May Help The Whole Year

Note: this was originally posted on GuitArchitecture but I think the message is still valid.

If web traffic is any indicator, I should be writing more about guitar shops in Vietnam, 8 string guitars (and pickups) and Philip Glass arpeggios which comprise the top 3 Google searches for my guitArchitecture blog.  (With absolutely no disrespect to Mr. Glass,  I never would have dreamed that there are thousands of people in the world actively trying to find out about “Philip Glass arpeggio”s.  Hopefully that makes someone’s day better!)

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But  since I don’t work with Google ads for ad revenue, I get to post on whatever interests me and while the personal motivation /psychology of guitar playing, tangential music business and music making observational posts get substantially fewer hits – they seem to be the ones that affect some people more.

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I’ve talked before about the need for a thick skin if you’re going to be an artist and how having a strong opinion could result in people reacting strongly to it as well.  While that’s an observation I still stand behind, I feel I should temper that advice with another suggestion that may serve you well.

Forgive people (including yourself) and

try to empathize with them.

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These things are actually related.  The more you see where someone else is coming from, the less likely you are to judge them harshly. This doesn’t mean forgetting, or letting people do hurtful things to you without consequence –  it just means letting go and moving on.  If this sounds counter-intuitive, then you should consider doing this because it will serve you better in the long run.  As Carrie Fisher once said:

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“Resentment is like drinking poison and waiting for the other person to die.”

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Looking back at my own life I see much truth in this statement.  I think of the actions of other people I resented and I see a series of torches that I carried.  Each requiring an exhausting amount of energy and maintenance to keep burning.

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John Lydon once said, “Anger is an energy” and while I believe that there are things are worth fighting and things worth fighting for, I also recognize that you only have a finite amount of energy in life.  In my own life, I eventually had to ask myself the question, “do you really want to spend energy and time on resentment or do you want to spend it on making your life (or the lives of other people) better?”

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A friend of mine recently sent me a link of yet another video of Pat Metheny going off on Kenny G.  When I saw it, I thought about some of Pat’s earlier diatribes about Kenny and my reaction was the same this time as it was before.   I didn’t laugh or think that it’s cool but instead I thought that it’s sad Pat Metheny has to be so insecure about what he does that he has to attack another musician for doing what they want to do musically.  Because if you’re secure about what you do, you don’t need to attack other people.  It does less to debase Kenny G in the public eye and instead of makes Pat Metheny look like a bully. Think I’m wrong?  Consider these questions for a moment:

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Does going off on Kenny G  get Pat more fans?

Does it get him more album sales?

Does it get more people going to Pat Metheny shows? Or

Does it keep Kenny G’s name in the news?

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If Kenny G had a deliberate plan of making music he hated just to sell a million copies of it then perhaps I could understand the rancor but I believe that Kenny  is playing music he wants to play just like Pat Metheny is.  It’s not something I dig, so it’s not something I buy or listen to so and (like many people I suspect) I don’t think about Kenny G until I stumble across another video of Pat going off on him.  If Pat empathized with that sentiment he might be less resentful of what Kenny G is doing (and would look a little less ridiculous).  Some jazz purists might not think that Pat looks ridiculous, but in support of my argument I ask only one question:

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Of all the ills in the world, is going off on Kenny G really the best you can do?

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Again, this is just my $.02 but don’t waste energy on people and things you dislike.  Instead, take that energy and invest it in making things better.  It’s something I’m still working on for myself.  Perhaps it will be helpful to you.

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Merry Christmas and Happy Holidays to you all!

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Do You Need A Guitar To Be A Guitarist?

In an earlier post, I provided some scrutiny to the blanket idea to a common self-help sentiment that, “the answer (to your questions/searching/etc) lies within.”

And while there is some truth to that sentiment, it is only a 1/2 truth.  You can find some answers within, but only when interacting with external influences.

“It’s about my music…”

When I taught lessons at CalArts, variations of the above statement came up repeatedly from students who didn’t see the merits of learning other people’s songs as lesson material.  “Can’t we just work on my stuff?”

Well, we can…but there’s a problem:

  • every song you write is the same chord progression moved to other keys
  • you have two strumming styles
  • your melodies all seem to be a variation on one melody

In other words, the problem is you just keep writing the same song over and over again with different lyrics.

This is what happens when you work on things in complete isolation.  You end up “discovering” things that are already well worn territory, and you develop a language that might have incredible emotional meaning for you but doesn’t necessarily engage other people.

It’s like learning a native language.   You could just say, “gaga-goo-goo” the rest of your life instead of learning words but while your parents would know what you were saying, it would be lost on anyone outside that circle. You have to learn other people’s words to have the common ground to communicate with other people.  The originality comes from being able to form your own unique sentences and your own ideas.

So the teachable moment comes from getting students to realize that you can learn other people’s material with the intent of developing your own music instead of simply learning how to play their songs.   It comes back to two core concepts of mine – having a “why” and learning the deeper lesson.

Do You Need A Guitar To Be A Guitarist?

It’s a trick question as the answer is yes and no.

When you first start off, you have to have a guitar to be a guitarist.  I’ve known a number of people who truly had the souls of a guitarist and were as passionate as guitars and guitar playing as I was, but they’re uber – fans.  That’s fine but they’ll never be a guitarist because they have no desire to pick up the instrument and play.

So you can have all the intent in the world, but if you don’t play the guitar, you’ll never be a guitarist.

In contrast, at a certain point being a guitarist becomes a skill.  You don’t become defined by what you play, but instead by how you play it.

There is a story of Miyamoto Musashi, possibly the most renown samurai in history, being called to a duel on an island.  Allegedly Musashi, who at that point in his life stopped using traditional swords in favor of a bokken (a wooden sword), got into a boat and carved a bokken out of a spare oar on the boat.  Musashi killed the opponent with the bokken upon arriving on the island, and bid a retreat in the boat before his opponents followers could attack.

Musashi didn’t need a sword to be a master swordsman.

Gear

In this season of black fridays and holiday excess, I invite you to be mindful and take stock of what you really need to play.

  • If you’re a guitarist and your guitar is not in playable condition, you’re going to need something (a setup, repair or possibly a new instrument).  Ditto for an amp if your an electric player.
  • If you need to record and don’t have a way to record audio, you may need something,
  • If the only pedal you have at your disposal is an Arion Distortion you may need something.

But often what’s needed is a set up, or some new strings, or some lessons to get inspired and go to another place.

It’s easy to get caught up in gear lust and say that if you only had (insert mystery guitar/amp pedal here) that you would be able to do (insert desired outcome).

But it’s important to remember that just as gear can be inspiring –  an abundance of options doesn’t lead to exploration of all options, it leads to paralysis.

A key feature of teaching improvisation involves teaching people to work within limitations. It’s in the limitations that you can find the unique approaches and the vocabulary that you thought you were missing.

This holiday season – I invite you to take stock of what you really need to reach your goals and to explore maximizing what you already have.

Do you need to be a guitarist to own a guitar?

Does owning one guitar over another make you any more of a guitarist?

The answer lies within and without.

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Don’t Let Time Become An Excuse For Not Starting Something

Hi everybody!

I just wanted to add a post to go with the new series I’m running on my podcast. (if you like this post you might want to check it out if you haven’t already!)

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Time and Fear

It can be scary to start a new project, take on a new initiative or choose a new direction. One fear-based response I hear from people consistently for why they don’t want to take on something new is some variation of this:

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“Well…what if I put all of this time and energy into it and it doesn’t go anywhere?”

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The Tough Love Part Of The Post

Here is the reality check for this line of thinking:

Your time has no fixed economic value before you start something.

Let me clarify this.  If you’re currently making six figures a year in your day job, you are sorely mistaken (or outright delusional) if you’re taking on something new at the ground level and assuming that your time in your new venture will initially have the same value as what you’re currently making.

If you open a hot dog stand and sell five hot dogs in your first hour, SOME portion of that wage (and given the cost of supplies will be a negative figure in this case) will be your new (hopefully temporary) hourly wage.

While it doesn’t mean that’s what you’re worth –  it does mean that’s what you’re making at this moment.  Five years from now your artisan dogs might support a dozen stands selling hundreds an hour and bringing in real money – but at this moment – in the simplest equation – your business is valued at the dollar value generated when expenses are subtracted from assets and revenue.

Later on, once your project has inertia, your time will have a definitive value and there will be numerous things fighting for your time.  But initially, it’s like going to court in that just as you don’t get compensated for your time to appear in court – you don’t get back the time or energy in a project that went bust.  It’s gone.  Eat the loss and let it go.

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Sometimes you take a step back to move forward.

When I realized that my fretting hand technique was holding back my playing I had to re-learn about 1/2 of what I “knew” how to play.

It was a drag, and initially it felt like a huge waste of time taking a step that far back and I resisted it for a year because I didn’t want to wast my time taking a step back when there was already a lot I could do on guitar.

But what I could already do wasn’t getting me any further ahead in the long run.  The process of revamping my technique made me re-evaluate my relationship to the instrument and to music as a whole.  I began to hear my playing differently and began to hear other people’s playing differently.  Ultimately it got me the fluidity and clarity that I admired in so many other players playing that I was always wondering why it was missing from mine.

I sometimes wonder if people get frustrated when they talk about whatever they saw on the internet or TV (i.e. “if your time is so valuable how exactly are you spending it now?”) and then go on to ask the initial question:

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“Well…what if I put all of this time and energy into it and it doesn’t go anywhere?”

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Here’s the answer:

The good news is that if the project is a bust (and if you haven’t invested EVERYTHING into it) you can quit and take what you’ve learned from this venture to move on to the next one.

I copped this from Seth Godin who once said that quitting is undervalued and that the problem with quitting is that most people quit something when it’s too late.  The time to quit is in the early stages BEFORE you take the second mortgage, empty the bank account and realize that if this doesn’t work out that you and your family need to move back in with your folks.

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And now the caveat!

If this website has a one word core idea, it’s balance“.

Before I played guitar, I started off as a drummer in junior high school.  If I didn’t quit drums in my first year and later switched to guitar I never would have stayed in music because by the time I had enough time in on drums in high school I wouldn’t have had the energy or interest to transition to learning guitar.

If I quit my pursuit to revamp my technique too early, I never would have made the progress in my playing that I did.

The balance is the hardest thing because the onus of understanding and maintaining that balance falls on you, the individual.

Balance will play a huge role in the posts and podcasts ahead!

Starting any new project will take inertia to keep it going.  Once you get the project going you’ll have plenty of opportunities to evaluate your use of time and address it’s value in a real way, but don’t let that short circuit your plans for starting something.

More content coming soon.  As always, thanks for reading!

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It’s Not All Gold

As a professional – one important lesson to start internalizing is the need to balance being passionate about what you do and maintaining an emotional distance from it at the same time.

Hostile Terrain

Most of you have never heard of my first self published book, an unabashed DIY effort called Hostile Terrain.  It featured poetry, some plays, essays and other works.  Truth be told, about 30% still holds up as writing that I’d be willing to show to other people.

Hostile Terrain came out of a process of years of journaling.  I wrote everything down as an outlet.   I was depressed and desperate and it took a long time to realize that journaling just fed right into that.

I didn’t realize at the time that writing wasn’t getting bad things out of my system, but instead, it was just making me sicker.  I was breathing in the same stagnant air and thinking that I found something invigorating and relavatory because I was equating output with discovery.

In the next stage of this process, I was living with a person in a completely isolated situation and had hit emotional rock bottom because I had to confront things that intellect alone couldn’t solve and that I simply didn’t have the emotional maturity to deal with.

In the middle of this terrible living situation, a freak accident happened where the room I was living in flooded.  I lost 10 years of writing and journals.

I was devastated.  It was thousands of hours of work down the drain (or so I thought).

So being emotionally crushed, I went back to what I knew.  I went back to writing and eventually I wrote some more and then put out Hostile Terrain. I sent it out to friends and to a few publishing houses I was into, and while I got a few “attaboys” I got no interest from anyone for anything resembling publishing.

Bedtime Stories For Mutant Children

In the meantime, I decided to move away from poetry and into short stories.  I was really influenced by Tomas Bernhardt’s The Voice Imitator and decided to write a series of short stories that focused on dark stories for adults told in a children’s storybook style.  This was about 1996 or so. The Tim Burton book, The Melancholy Death Of Oyster Boy, came out mid project and even though I was jealous he beat me to the punch – my stories were much darker and I thought I might be able to get some publishing interest for a character I developed while on a grim tour of Germany (Kommandant Kumar) and for the overall book concept, Bedtime Stories For Mutant Children.

I had all the stories online so I could get feedback from my friends.  I didn’t have a computer at the time so I was working on my friend’s work computer.  I did this off and on for about a year.

Then something happened.

Within a 24-hour period the web server went out of business AND the hard drive that I had all of the files on seized.

I lost 30 short stories. Gone. Casper.

I hit my frustration limit and I stopped writing.  I abandoned the screenplay I wrote. I stopped all of the other writing I was doing and I worked on other things.

Eventually, I started seeing things differently, and I came to a realization.

It’s Not All Gold

  • There is no scarcity of ideas.

  • Not every idea has value

  • Important ideas will return

  • Sometimes it’s the process and not the product

There is no scarcity of ideas.

This was the biggest obstacle that I had to overcome in my own thinking and it’s one I still wrestle with.

There’s a fine line between being attached to an idea and being chained to it.

The difference is whether the idea you’re working with serves your larger goals, or if it’s only serving its own completion.

You don’t have to hold onto every idea like it’s a precious nugget.  There are more of them out there.

Not every idea has value equal to the amount of work needed to put it into action.

Again, it’s easy to get emotionally attached to the work put into an idea and equate work with value but that’s not always a direct relationship.  If you ever watch an episode of Shark Tank, you’ll likely see businesses where people have invested hundreds of thousands of dollars into a product that has generated no revenue after several years in place.  This is what I’m talking about.

Cultivating the mindset to distance yourself emotionally from what you’re doing is a difficult process to develop and maintain but it’s an extremely valuable one.

Important ideas will return

I like documenting things because sometime I find things worth exploring but, in retrospect, every really good idea I couldn’t remember came back to me or presented itself in a different form.

Sometimes it’s the process and not the product

For me, this is the most important lesson in this piece.

Earlier, in regards to losing all of my writing, I said that:

“It was thousands of hours of work down the drain (or so I thought).”

That work wasn’t down the drain at all.  The work I put into that sharpened my writing and really honed my ability to focus.

That emphasis made huge differences in my practicing and ultimately affected other areas of my life in a much more positive way than the actual writing ever did.

When I work on projects now, I assess the value of the outcome and the value of the experience and if either one makes sense for me to do, then I’ll take it on.

Don’t get hung up on old ideas at the expense of new ones.  Implement, assess and then continue or abandon as need be.

I hope this helps and as always, thanks for reading!

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Do You View Your (Music) Career Like An Actor?

I just saw a documentary on Netflix called “That Guy Who Was In That Thing” which is about a number of instantly recognizable character actors and their paths to get to claw their way to the middle.  ; )

The documentary is thoroughly engaging by being both entertaining and thought-provoking.  There also happen to be a number of parallels between performing in the film/television industry and performing in the music industry.  The subjects spoke at length about the difficulties that come with the ebb and flow of work that their careers take.  They talked about how they were (and are) out of work for years before they get a few gigs or hit a streak of work and all of them had stories of other parallel jobs that they worked while trying to make a living acting and tales of losing gigs for any one of a dozen reasons.

Two things grabbed me right away.

1.  The subjects spoke at length about how the number of actors out there willing to work for less has caused many of them to make less money than they did before. The thinking being, we don’t have to pay you that anymore because there are 10,000 other people who will kill to sit in that chair for less money.  The number of parallels with this and recording musicians (and performing artists) was striking. I’m paraphrasing here, “You realize that they don’t need you to fill the role, they just need to fill the role.”  Does this sound familiar to anyone performing and/or recording music out there?

2.  Musicians might actually have it easier than actors.

Here’s my thinking behind this.  Actors need vehicles to act in.  So the model they use is basically variations for  Advertising / Televison / Film.  For a TV show, this might mean

  • auditioning for a pilot with hundreds of people
  • getting a callback with maybe 50 people
  • getting a second callback with 20 people
  • doing a test with 5-6 people
  • having a series of negotiating calls made to see what you will cost them
  • testing in front of the studio executives this will limit you to a group of maybe 3 people
  • if chosen, you then shoot a pilot
  • the pilot then has to get picked up and
  • then you hope that the series doesn’t get cancelled after the first few episodes

The interesting thing to me was that this paralleled musicians and major labels.  The thinking was for years that you had to be in a band and signed to a label to have a career. Online distribution changed that model forever.

Having said that, artists on labels are/were the only people getting tour support. (They’re  generally the only people to also get tour support via sponsorship. )

For actors, working with studios means you get to keep your SAG card.  You get to keep your benefits and the SAG card is key to the audition process (and the securing of roles).

It doesn’t say it directly in the documentary – but some of these actors slogging it out in endless auditions seem to be afraid that the new (up and coming) actors are just getting pulled from YouTube.

I don’t think it’s the case for major films – and won’t be for a while.

Studio legend Tommy Tedesco once related a story where some MI students went with him on a session and one of them said, “I don’t understand.  Someone who’s been playing a year could play that part.”  And Tommy said, “yes. that’s probably true.”

The student pushed it more and said, “But you make triple scale, why do they pay all of that money to bring you in when they could get someone to do it much cheaper?”

Tedesco replied, “Because when you spend 50 or 75,000 on a recording session with an orchestra, you don’t want to lose money because some guy might screw up his part.  You’re going to get the best players on the session to make sure that absolutely nothing goes wrong.”

Again, I’m not knocking YouTube – but a YouTube performance doesn’t mean you can handle the rigors of any gig that comes your way.  While it might get you an audition, in and of itself, it’s never going to give you traction if you don’t have the skills to back it up.

Here’s what bugged me about the documentary.

No one talked about going DIY.

No one talked about making their own films.  Writing and staging their own plays.  Starting their own companies. All they talked about was a variation of the formula:

Get call from agent + audition + a dozen factors MAY = a gig.

It’s easy to view a music career like this.  Waiting for a shot – the right moment, the right contact – to make a big pay out.  It’s the lottery mentality to which I say, “sure, put a couple of bucks in and see if you get lucky, but putting your life savings in it probably won’t pay off.”

Those development contracts like Joan Crawford were on back in the day are never coming back to the movie houses.  Those days of getting signed to a label and having a carer carefully cultivated over multiple releases are never coming back.

Elvis already left the building.

While I’m fully in favor of seeking out opportunity – by and large you make your own opportunities and the formula for that is:

Do really good work + Do it frequently + Affect, motivate and/or move other people = being the go to person for “that thing”.

If what you do services a niche audience, you might not get rich but it’s probably the best way to build a long-term career.

Thanks for reading!

-SC

Guit-ing A Grip On Technical Difficulties (Podcasting)

Hi Everyone,

Here’s the podcast streaming message but the real notes are below:

[audio:http://traffic.libsyn.com/guitagrip/Guit-A-Grip_Podcast_Update.mp3%5D

iTunes Trouble

I thought this was fixed, but apparently some component of the lib syn/feedburner/iTunes trinity is broken and despite re-uploading some of the files the links for Episode #4 and Episode #5 are pulling up podcast #2 in iTunes.

I have NO idea for why that is happening but I’ve included streaming and download links here for all of the current episodes.  These load right up in my podcasts so hopefully they’ll do the same for you!

I’ve moved all the podcasts to one central place, the PODCAST tab on the top of the page.

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Again, my apologies for the inconvenience everyone!  More content coming soon!
-SC