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ADD NEW SKILLS TO YOUR SONGWRITER’S TOOLBOX LIKE A PROFESSIONAL WRITER

3/2/2021

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Songwriters, like any craftsmen, rely on skill. But skill is often limited by the quality of tools in our toolbox. Here are 4 steps to get you on the path to constantly adding new tools to your toolbox.
 
Practice Active Listening. When we’re listening to music, it’s important to go beyond the “I like this” or “I hate that” Passive Listening. The next time you hear a song that catches your interest, ask yourself more specific questions like: Do I like this unique phrasing the singer is using? What rhyme scheme is being used? Does it work? Do I like this song because of the production, or is it a great song? Passive Listening promotes opinions rather than knowledge. Active Listening gets you inspired and develops your skills! This same method works for producers too. When listening to a song (especially electronic music) it would be good to think about what kind of synthesizer set up created this sound or what happened in the mixing that this song is so clear or even mistakes had been done that this song sounds like this!

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HOW TO WEATHER THE UPS AND DOWNS OF THE MUSIC BUSINESS

2/23/2021

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“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.” ~Hunter S. Thompson
There is no doubt that the music business is tough. But so is the “Medical” business, the “law” business, the “teaching business”, etc. You get the picture. Things are tough all over. But the music business is full of things that look promising and fall through, things that are “guaranteed” and don’t happen – on and on it goes. By this point I have shared some of my disappointments. Holds that were all but a “sure thing” and didn’t happen. Singles that were promised on Sam Smith and never came to be. 
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The list is long and sad. And these are maybe less than 5 percent of the disappointments. But important is if you are going through these disappointments, you don’t give up and just use these rejections or unfortunate indicants as lessons and start again, stronger. So, how do you stick with it when the “downs” start to pile up? I learned the hard way that you have to have a plan. The plan I came up with was this.

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LEARN TO SPEAK MUSIC BUSINESS

2/16/2021

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​Lots of songwriters I know just want to become better writers for their own pleasure not for being in the business – and that’s awesome! Another significant group in I know are trying to write commercially and to break into the music business – which is even more awesome. If that’s your goal, you need to learn to speak the music business language, or you’ll wind up looking like you don’t know what’s going on when you encounter people already in the business. Every industry has its own terms and words might have different meaning than their original meanings. Here are some proper uses of music business words.
HOLD. A hold is a request by an artist or a representative of an artist to give them first right of refusal on a song. If Katy Perry puts your song on hold, it means that she’s asking you not to give it to anyone else before she decides for sure whether or not it will make her record. It is some sort of saying that they had “shortlisted” your song and probably a couple of other songs and now they are debating which song have to get the final move. 
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Record labels, producers, managers and artists themselves put songs on hold. Publishers do not. If someone tells you that your song is “on hold” and it’s not one of the groups listed above, they are blowing smoke and hyping you up.

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ETIQUETTE FOR SONGWRITING

2/9/2021

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Our pitch to publisher webinar recently reminded me of several points that I think bear bringing up every now and then. Almost everyone involved in the song submitting process behaved professionally. One or two did not. One of those people e-mailed me after the event claiming that I must not have listened to their songs because they submitted two songs that were better than anything that was played. They went on to say that they would hate to have my job because they could not stomach passing over great songs and playing weak songs that were more commercial instead. I am pretty forgiving, and I have very thick skin, but I want to remind everyone that doing something like that with a publisher or other industry professional will mean the end of your relationship with that person. I have seen it happen. 
My first publisher was the most kind, generous person. He would spend time with anyone off the street that came in my office. And he would bend over backwards to help them. ​
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CO-WRITING ETIQUETTE

2/2/2021

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Recently, we’ve had several people write to me concerning issues with co-writers. So, I thought I’d remind everyone of a few co-writing etiquette “Do’s and Don’ts”. Co-writing a song with someone enters you into a business relationship with them. Once that song is done, the two (or three, or five) of you have created a legal entity that will live on for 75 years after the last one of you passes away. That’s a big commitment. Because it is a big deal and it is important to know how to properly behave in regard to that little song baby that you create. It is seriously required to be taken highly seriously! Here are some things to keep in mind.

Ideas thrown out in a co-write are not for you to write on your own later. You pick one to write that day in the room and the other ideas “belong” to the person who brought them in. Taking the ideas you didn’t use that day is uncool and unethical. 

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Come up with your own ideas and respect the ideas of your co-writers. Unless if something is your idea and you are the one coming up with it and it is not being used in the co-write session, then later you can work on it alone or with another co-writer but if the other person comes up with it, it is not yours, no matter what. 

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ARE YOUR SONGS REAL OR REALLY CLEVER?

1/26/2021

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Perhaps the most common songwriting mistake that I’ve seen kill a song. If I had to choose one songwriting mistake I’ve seen over and over in publishing and mentoring sessions through the years, it would be “writing clever instead of writing real.” Throughout the entire writing process, I am asking myself, does this feel real? Could this have really happened? Does this sound like something would say or does it just sound like a clever line? When someone hears your song for the first time, real hits them first before they even fully understand what your song is about. Nothing loses the listener faster than a line in song that’s not believable or sounds “written.” Here are a few ways to make sure your song is “Real.” 

Always write true statements. “Everyone knows love is just a game” is not a true statement because not everyone feels that way. But- “Some may say that love is just a game” is true because some people feel that way. This may seem like a small point, but it is huge. 
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Always write true statements. People can’t argue with truth. It’s real and affects people, even if they don’t like it, it affects them. Even if you’d want to use metaphors in your lyrics, use them the way that sounds real. Stay away from unnecessary exaggerations and be frank with yourself, defining if you’re writing real or just trying to be clever. 

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QUESTIONS TO ASK BEFORE YOU WRITE A COMMERCIAL SONG

1/19/2021

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Who would want to say this? An artist is a brand. If a song doesn’t fit their brand, they aren’t going to sing it, no matter how good the song might be. If you can come up with a handful of artists that might think your song fits their brand, you are on the right track. If you can’t, you probably aren’t writing a commercial idea. For instance, I once wrote an amazing song about a boy catching his father cheating on his mom. It was a GREAT song. The only problem was, no one wants to stand on a stage and call his or her father a cheater in front of 60,000 people every night. The audience would believe that it was true. That’s not going to happen. Asking myself “Who would want to say this?” would have saved me some disappointment.

​How does this make the artist look? If you are not painting the artist in a positive light, you have almost no chance of getting a song recorded. 
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Again, not many artists are interested in getting up every night on stage and singing about being a cheater, a drunk, a jerk in general or any negative thing. People buy less t-shirts from cheaters, drunks and jerks. The artists want the audience to think they are hip and cool people. Paint them any other way and your chances go down to almost zero.
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DON’T UNDERESTIMATE YOUR SONGWRITING PEERS!

1/12/2021

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​One of the biggest mistakes I see aspiring writers make is that of overlooking their peers. When we are trying to get things going with our writing, too many of us are so busy looking up that we forget to look around. There are people at your level right now that are easily accessible to you who will be the biggest writers in town someday. If you spend all of your time trying to set up co-write with writers higher up the ladder from you, you will walk right by these people. And, in walking right by them, you will seal your fate. When they do become successful, they will remember that you didn’t have time for them when they had nothing going on. 

​​My first publisher was a writer as well. He had written with a young artist who was working days selling boots down on Broadway and writing at night. This artist had been turned down by every label in town. He had nothing going on. Still, my publisher believed in him and wrote with him when no one else would.
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SONGWRITING TAKES COURAGE

1/5/2021

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Being a songwriter is not for the faint of heart. But, being alive is not for the faint of heart, either. The more I experience and the more stories I hear, the more I realize that the vast majority of us have faced some really difficult things in life. If you have not, then count your blessings. I loved this quote the moment I saw it. Even the courageous are afraid. They just decide that something else is more important than fear. Soldiers in battle who go toward the enemy to save a buddy are still afraid. They just put their friend above the fear, and they face it anyway. In life, or in songwriting, the same principle applies. The moment you come over your fears and realize that you actually can start taking the risk and aim to become a full-time writer, the doors will open to you. Life will surprise you the way you never expected. There definitely will be times you will get disappointed and discouraged over and over but you should always remember that you’ve already started a game that from beginning you knew that only strongest ones will survive. Play the game with all your heart and not only you will make it, but the journey as well as the winning will give a joy you never could experience it in anything else.
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WHEN IS IT TIME TO GIVE UP?

12/29/2020

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I have had numerous people share with me their struggle to maintain hope and self-motivation and to keep trying to pursue their dream in the face of great adversity. Obviously, there is no one pat answer that applies to everyone and all their struggles but, in general, my answer is this. You keep going until the cost of giving up is less than the cost of keeping on. Remember how much time, energy and money you had invested in your career so far and how close to the goal are you? Does it worth to give up now and let all your investment to turn into nothing? If your answer is yes, and if you are that cold about sticking to what you are doing, then no one can change your mind anymore. But for me, personally, nothing is impossible and it’s just matter of time, and I would try harder and harder to reach where I always wanted to reach, and meanwhile, whenever any bumps come to the road, I just remind myself why I had started it and where I want to go with it, and that is enough motivation for me to keep up.
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ARE YOU PITCHING YOUR SONGS WITH A MACHINE FUN OR A RIFLE?

12/22/2020

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In one of our Staff Writer Crash Courses I was teaching; we had a number of songwriters concerned because they could only submit one song for consideration for the week’s assignment. The prevailing attitude was that “more shots equals a better chance of something great happening”. I want to dispel that myth and to explain why pitching your songs with a machine gun is not the best way to hit your mark.
 
Not too long ago, one of my pluggers sent out an e-mail to all of our writers asking us to send him only one song pitch idea for a big shot singer. Well, I had the singer's first single ever, so I thought to myself “I’ve got tons of songs that would work for him”. I proudly sent my plugger a list of 8-10 smash hits that I thought he would kill. In my head, they were all pretty good shots. And, I thought the plugger could pick his favorite (or two or 5) to play for him. Immediately, I got a reply that said “I’m about to walk out the door to go to this meeting and I don’t have time to listen to 10 songs from every writer. 
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BLOW THEM AWAY WITH YOUR SONGWRITING

12/15/2020

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I often run into people who are doing all the wrong things in their pursuit of success with their music. Most of the time, the thing they need to be doing is improving their songs. That’s often the one thing they aren’t doing, and they’re usually wondering why this whole songwriting business is not working for them.  They are meeting with publishers and people at PRO’s (ASCAP, BMI, COMPASS, SESAC, etc). They are trying to get co-writes with big writers. They play shows, hoping to get noticed. Basically, they are doing anything they should be doing according to the “textbook” but the problem is that their songs aren’t just good enough. No publisher or PRO rep can help you if you don’t have songs that are great. Not good. Great.

If you get that writing appointment with a big writer and you aren’t up to writing at his or her level, you probably won’t get another appointment. So, I often find myself reminding people that the “secret” to success is to write undeniably great songs. 

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You know the feeling you get when you are listening to the radio and all of the sudden, a song comes on that is way better than the previous song? It stands out because it is just flat out better. If you have songs that are undeniably great, it won’t take many meetings or shows for you to garner some interest. If you aren’t getting that interest yet, then just take a deep breath and invest your time and energy into writing better songs.

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WILL YOU BE READY WHEN YOUR DOOR OPENS?

12/8/2020

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“He got lucky. That will never happen again.” After celebrating my first number one song, a friend of mine told me that a big successful songwriter spoke these words about me. I can’t blame him. He had been writing big songs for years and he’d seen a lot of young songwriters come and go in this industry and maybe it was a bit surprising for him that a new boy is in the industry and got a number one hit. He understood that while it’s not easy to write a hit, and it’s even more rare to write another. If you don’t believe that, there are lots of example of one hit wonders to back up his theory! 
Here’s what usually happens; A songwriter writes a great song, has success and the door opens. All of a sudden, artists, producers, and A&R folks notice him and say, “Show us what else you have.” This is where 90% of songwriters fail. 
​They play everyone the few songs they have, and often, there are no songs on the same level as the hit they wrote. And the door closes. Their success comes before they have developed their skills.
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THE SONGWRITER’S PITCH TO PUBLISHER CHECKLIST

12/4/2020

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Before you even agree to the meeting, ask yourself – “Are my songs really ready for recording and for going to the radio? Are they my songs going to compete with everything this publisher hears every day?” If you can’t honestly answer that question, then you don’t need to take the meeting. I will be just a waste of time for yourself and more importantly for the publisher. I said more importantly because when you waste their time, they will put you in their “waste of time” list and next times when you actually might have something to offer, they will refuse to meet you because, well, why should they? The last time the spent time to meet you, they got their time wasted. I have heard songs pitched to me – as publisher – that were so bad that an artist would never cut them in a million years. Get lots of good feedback on your songs from the people you already trust that they don’t hesitate to tell you if your song is bad, and you know for sure they will tell you the truth. I refer to those people around me as “safe people” that I know no matter what, tell will tell me the truth. 
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Safe people are people that aren’t going to hold it against you if you play them a bad song and they most probably will tell you what they think is wrong with your song and even they might give you some suggestions to make your song better. You can consider their opinion, work on your craft and then show it to them again and see what they will tell you. Publishers are not safe people. They usually give you one chance and it is best for you to use your that one chance wisely.

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IF YOU DON’T WRITE SONGS, YOU PROBABLY THINK IT’S EASY!

12/1/2020

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Some people sleepwalk, some people sleep write. “It was a spring morning in 1965 when Keith Richards rolled out of bed and noticed a new tape somehow wound its way through 45 minutes of usable tape. Curious, he rewound the tape and pushed play. A three-note guitar riff came blasting out of the speakers, followed by some basic chords and a simple refrain. ‘I can’t get no satisfaction,’ went the melody, sung by Richards in a sleepy, half-conscious voice. Richards had apparently woken up with a melody in his head, recorded it with his acoustic guitar and then fallen back asleep.” — Andrew Leahy, “Behind the Song: ‘(I Can’t Get No) Satisfaction'”.

I know what most people are thinking. Anyone that isn’t a songwriter probably reads this quote and thinks this writing thing is easy, guys just do it in their sleep. While we never know when a “seed” or “idea” for a song will come to us, the real work comes in growing that “seed” into a well written song. 
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5 LYRICS PITFALLS FOR SONGWRITERS

11/27/2020

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Saying the same old thing in the same old way. The hardest part of songwriting is saying the same old thing in a new way. If you say the same old thing in the same old way, you’re dead in the water. Why we say same old thing? Because writing songs is all about emotions. Human emotions are limited to a few emotional senses and you can’t go any further than that. Therefore, you need to talk about one or more of those same old emotions, but your creativity is where you can do so in a new and creative way. For example, your better half had left you and you are heart broken about it. Write about it, but look at it from your very own point of view. Make it unique. There is only one “you” in this world so there is only one point to look at this one particular story between the unique you and the unique her! You see? Just in this one example, there are so many things that make it pretty unique and you just need to see it this way. Then you can write it as is, even you can add some more drama to it for the artistic purposes if it’s not already enough of drama involved.
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WHY YOU’RE NOT GETTING SONGS CUT?

11/24/2020

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Looking at the songwriters whom I am mentoring, and the messages and emails I receive all the time, I can say as an average, the biggest question most aspiring songwriters have is “Why am I not getting songs recorded by major artists?”
​This is a very hard question to answer because there are many factors affecting your process in getting a song, but in my experience, there are several primary reasons people don’t experience the success they want with their songs. Here they are:

Your songs aren’t good enough yet. Well, I always had been saying “write better songs”. That doesn’t mean your songs aren’t good enough, but it means you can write better songs that what your written until this point. Today, you should write a song better than what you wrote yesterday, and tomorrow you should write something better than the song you wrote today. In more than 90% of the cases I’ve encountered, this is the problem. ​
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FOUNDATIONS OF A GREAT SONG

11/20/2020

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A recognizable structure. People can get confused if a song does not fit one of the common song structure patterns. This is an unwritten rule in listeners brain that a song have to have certain structure and if your song isn’t following that and they can’t say which part is which part of the song, you’ll get your listeners confused and we'll, nature of human being will make them to avoid what makes them confuse, isn’t it? They are used to hearing songs being in some variation of the Verse, Chorus, Verse, Chorus, Bridge, Chorus format. Straying too far from that can leave a listener wondering where they are in a song. “Pretty Woman” is a hit song that wandered all over the place because of its beautiful lyrics and super catchy melody. But, most people I have polled can’t sing that song to me. They can sing pieces of it, but they can’t put them together. Song structure is important.
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DON’T BLOW YOUR SONGWRITING CHANCE

11/17/2020

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If you get a chance to write with a producer, an artist or a writer bigger or more experienced than you, there are some key questions you can ask that will give you a better shot at getting a cut on their record. Those opportunities are valuable, so be sure to ask these questions before you start writing!
 
What’s been going on with you? I always start there for two reasons. I truly am interested in what’s happening with their career. And it helps me know what to write when I hear the answer to that question. Often, they will say something that sparks a song idea. When I’m mentoring younger writers I always encourage them to go out there and talk to people. Ask them questions, learn about them, understand them. Each person is filled with thousands of interesting stories and as writer who have a voice in the society, it’s our job to be their voice and say their stories. That being said, who could be better than your co-writer? When you get the ideas from your co-writer and working on it together with them, during the process they can contribute more too because they feel close to the story.

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WHAT SONGWRITERS SHOULD KNOW ABOUT THE MUSIC BUSINESS?

11/13/2020

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One of the biggest factors that keeps songwriters from succeeding in the music business is that they overlook the fact that it’s a business. Understanding the fact that “music business” is made from two words of “music” and “business” and they are equally important. Unfortunately, most of young musicians I know just care about the music part and they mostly complain that they can’t make enough money to make a living! If you are from this group, you should know the most important and the simplest reason you are not making enough money is that you are too focused on the music side and forgotten about the business part. On the other hand, there is another group of musicians that they are focusing way too much on the business side and they forgot that they need to be a good musician or a good songwriter to have fresh and constantly produced material to do business with. They just write a couple of songs and then they focus so much on selling those few songs! That’s not how it works. You must focus on both side of the music business at the same time and understand that these two, together, can bring success to you. 
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WHAT MAKES A SONG GREAT?

11/10/2020

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A great song connects with people. Timeless songs connect to millions of people and continue to do so over time. When you play a great song for someone, they are able to connect to it emotionally. That connection is what causes someone to love your song. If your song about your broken heart connects me to a time when I had a broken heart, I’m connected and interested.
 
A great song causes a reaction. The listener is compelled to do SOMETHING when they hear a great song. It might cause them to dance, laugh, cry, sing along, etc – but they will do something in response to a great song. It’s almost impossible to avoid reacting when you hear a well written, great song.

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A great song stands the test of time. A great song will usually be relatable and relevant 25 years or 50 years after it was written. There may be exceptions, but a great song sticks around.
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TIPS FOR PITCHING YOUR SONGS

11/6/2020

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I see lots of mistakes being made in regard to pitching a song. Pitching the songs can be very tricky and sensitive. Tricky because you must make sure you understand what exactly they are looking for and you pitch the right work. And sensitive, because with couple of wrong pitches you can put your name in publisher’s list of people who always send the wrong song and the publishers will never open your emails anymore. Here are some tips to increase your chances of success, to help you appear more professional, and to keep you from burning bridges:

Learn as much as you can about the artist you are pitching to before you pitch a song. Pitching a love song to Kenny Chesney is as useless as spitting into the wind. He won’t cut one. Katy Perry isn’t going to sing a song that makes her look like a weak woman. Don’t waste your time or hers by pitching her one. Learning what artists will and won’t say is crucial to success in pitching songs. Be sure you have a song that you think is perfect for that artist, not just in the ballpark.

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HOW VALUABLE IS “EXPOSURE” FOR SONGWRITERS?

11/3/2020

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If I had a dollar for every time someone offered to let me entertain them for free in exchange for exposure, I could buy a new house. I’ve had offers from TV shows, wanting me to grant them a license for my song for free so that I could “pad my resume” and get “exposure” for my music. I’ve had countless bar owners offer to let me play “any time I want” for free so that “word can get out” about my music. The list goes on. The main problem with this is that I can’t get that exposure to supermarket and use it to buy grocery!
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The other problem with these offers is multi-faceted. Everyone else in the chain is getting paid. 

The guy making the TV show, the actors, the prop people, the gaffer (whatever that is), the cinematographer – they all get paid. Every single one. They aren’t working for exposure. In the case of the bar or restaurant, the same thing applies. 
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DON’T FOCUS ON THE SUMMIT

10/30/2020

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Songwriting can be a wonderfully, beautifully frustrating pursuit. But it can be especially maddening if your singular goal is something outside of your control. It’s best to enjoy the way while you are climbing your way up this mountain of music industry. If you only and only focus on the end goal, the road to that goal would be extremely tiring and most probably you will give up when a couple of years past and you are still nowhere near your goal. In my humble opinion the best is to learn how to enjoy the way and earn all the you can while you are reaching the summit. Make your process sweet so you won’t give up very easily. So, let’s say your one obsession is a Bruno Mars cut. There are several reasons that you are going to likely spend the rest of your life banging your head on the wall and cursing the day you ever tried to be a songwriter. For sake of brevity, I won’t list them all, but the primary reason is that you can’t make Bruno Mars like any of your songs. And if he doesn’t like them, you’ll never get a Bruno Mart cut. So, I wanted to run through some alternatives to goals that are outside of your control.  Considering these “what ifs” might just help you get closer to your goal than you ever imagined.
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KIDS ARE DREAMERS, DREAMS CHANGE THE WORLD

10/27/2020

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I remember spending my days daydreaming as a kid. I daydreamed sitting in my desk at school, I daydreamed while doing the list of chores waiting for me when I got home from school, and I daydreamed before closing my eyes and falling asleep at each night. These days I’m sure a teacher or someone would have diagnosed me with ADD and put me on some medications right away to insure a better future for my little daydreaming shoulder devil and myself!
 
What I didn’t understand then and what a lot of non-creative type of people don’t get, is that there is nothing more powerful than daydreaming. I believe, when done positively, it’s a form of prayer. A way to focus your intention so profoundly that you gather forces larger than yourself to change your future. The Wright Brothers dreamed of flying. Jonas Salk dreamed of curing Polio. Thomas Edison envisioned the light bulb. 
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They spent every waking moment dreaming first and later working to make those dreams come true. Kids get this. They don’t question if their dreams are crazy. It’s just a natural creative process. It’s the grown-up world that tells the kid to “grow up” or “be more practical” or “that’s impossible!”

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