If you have been following along, here is the next part of the blog project. If you have not been following, read the last post, first~
Chapter 9:
I LOVE this chapter, Hugh talks about people who can only be part of a team. "..corporations/ awash with nonautonomous thinkers." Love it.
Basically speaking, creativity almost always wins, and it is the one way you can make it in the music industry today. For example, look at clever viral videos on Youtube. Anything goes, and the more clever it is the better. Google 'United Breaks Guitars' for a great example.
My favorite sentence in this book so far is, " If you don't see yourself as particularly creative, that is not reality, that's a self imposed limitation.". I read emerging and/or young artists talking themselves down on blogs and twitter all the time, singing the same old 'I'll never make it' song. Well maybe that statement is a self fulfilling prophecy. Try not to let negative words and thoughts prohibit your growth.
Chapter 10:
IN chapter 10, Hugh states the obvious, that everyone has a Mount Everest to climb.
For the musician maybe it is a little different only in that there are Everests specific to being a musician or performing artist; from stage fright to getting that first 'soul song' out there. Advice? Get climbing. Easy peasy.
Chapter 11:
AH such an important chapter! Hugh discuses the fact that 'props' don't make the artist. We have this discussion in the studio time and again (mainly because we have to keep reminding ourselves!).
You don't need expensive gear, a vintage guitar or a new computer.
We get to hear so many examples of this, and you would not believe some of the stories out there about how, where, when and with what some really amazing and groundbreaking recordings were made. Google Rick Fines and check out his album 'Solar Powered'. All made in his cabin with a 50$ pre. No kidding.
It's the talent behind the gear, first and always, so ask yourself: "Do I really need this?".
Chapter 12:
IN chapter 12 hugh talks about all the other people just off of the bus, walking into the big city wanting to 'make it', and the five year prediction. Again, only creativity wins the day - for music and in everything - " All existing business models are wrong. Find a new one."
Chapter 13:
In Chapter 13, Hugh talks about the pain of trying, sacrifice and failing. He talks about accepting the pain and trying not to have high expectations, that way, if/when you succeed, it's all a bonus.
I would translate this chapter to mean, live in the moment. I always get hung up on expectation and it takes away from the experience. I think for the emerging artist particularly this is good and solid advice, you will make mistakes, you will fail, but as they say 'Sing like nobody's listening' and climb your Everest. Very Zen.
Chapter 14:
I need to read this one again. Hugh tells a story from his childhood in Scotland, about working at what you love, or something about fireplaces - I need to re-read. I think he means you can use your talent to make money, but you don't have to sell your soul music - hmm, so you can play in a cover band for income, but use your wicked guitar talent in the studio to create your own music? Thoughts?
Chapter 15:
Chapter 15 could have been written specifically for the musician. Hugh talks briefly about booze and drugs and the idea that many people have that it's the way to go, to be, but as we all know, it's not. You won't come out on the other side with a killer song from the experience. You may not come out the other side at all, and if you do, it will most probably be with nothing more than a cirrhotic liver and really bad breath.
Chapter 16:
OK, I have to start this bit with a direct quote that sums it all up, read this because these are facts: " The more you need the money, the more people will tell you what to do. The less control you will have. The more bullshit you will have to swallow. The less joy it will bring.".
There are people out there folks that know you are hungry, and who know you will do very nearly anything to get what you want. Make sure you have a line. I have artists who won't sell sex, who won't sing covers, who won't change songs to make them the 'perfect radio fit' etc etc..
Advice here is get out a ruler and make a line and don't cross it. 'What crap will you take, and what crap won't you take'. Go, do it right now, it may be the most important thing you do.
Chapter 17:
IN chapter 17 Hugh talks about progress, change, old ways/new ways and trust. He says ' Stop worrying about technology and start worrying about people who trust you/(they will) feed you and pay your kids' college."
Hugh says of the old ways, " (the) stability model no longer offers that much stability", and it is true, there are record deals still available for the lucky few, but even that is shaky ground.
There are a few different ways this chapter relates to the music industry, but I will take it down to the basic component you need to think about as a musician - The Fan.
In the music business today, there is no longer a middleman and you speak directly to the fan. So those are the people you trust to pay your bills and feed your kids.
Read Kevin Kelly's article on '1000 True Fans', it will point you in the right direction.
Chapter 18:
Here Hugh talks about being passionate vs being complacent. For musicians this is an easy one, as we're, for the most part, a passionate breed. In fact, sitting here thinking, I have never met a working musician or original artist who wasn't passionate. Perhaps complacency does not exist for us? (Don't mistake fatigue for being complacent!).
Hmm, comments?
On that note, I'll stop and get this posted up. I think Derek wanted this done by the 13, and I still have 20 chapters to go! Dear flu, please leave me alone this week, I promise you can come back next week and drip all over everything....
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