Everywhere you look, people are encouraging you to work harder, but there is more to life and success in music than grinding yourself to death.
The world is full of lies, and the most hurtful are often those disguised as advice. Motivational speakers and authors everywhere have spent the past several years speaking about the need to work harder. “Do more of what you love,” they say. “You have to want it more than anyone else.”
Working hard can lead to success, but there is more to life and having a career than working around the clock. The CEOs of tomorrow are not necessarily the people working eighty-hours a week right now. The innovators who will lead us into the future are not pushing themselves to the point of exhaustion every single day. Hard work plays a part, sure, but it is not the entire story.
When you speak to people in positions of power they will tell you that taking time off can be as beneficial as working long hours. The human body has limits. You can only do so much and come up with so many ideas before you hit a wall. You can push yourself beyond that point, which many do, but such behavior produces diminishing results.
In this episode of Music Biz, host James Shotwell tells us about the dangers of living a ‘hustler harder‘ lifestyle.
Bandcamp is setting itself further apart from other streaming services with the reveal of a new way to fund and release vinyl.
Vinyl sales have surged in recent years, but cost of pressing remains high. Could Bandcamp’s new service be the solution DIY artists need?
Bandcamp has announced a new service that allows artists to launch crowdfunding campaigns for vinyl releases. Once a campaign reaches its minimum goal, Bandcamp will press and ship the vinyl record directly to fans, which saves artists time and lowers the risk involved in vinyl production. Artists will maintain full control of the record’s design as well as its price, though the cost will depend on the design, number of discs required, quality of sound, and other factors. The service—which aims to streamline the “financing, production, and fulfillment of vinyl records”—is set to launch for all artists and labels later this year.
The ‘Kickstarter for vinyl’ service was revealed by Bandcamp earlier this week. In the post, Bandcamp stated that sales of vinyl records on the service have grown 600% in the last five years, and every month another 3,500 unique vinyl albums are added to the site. While that figure is impressive, the announcement also says that only 9% of the albums with sales on Bandcamp in 2018 offered a vinyl version. The company hopes their new service will encourage more artists to explore vinyl pressing, as well as offer fans a chance to fund new pressings of records that may otherwise never be pressed again.
The reasons more DIY and independent artists don’t press vinyl are numerous, but cost is the biggest factor. A run of 500 records can easily costs thousands to press, and that isn’t accounting for postage to ship the albums to fans or the cost of packaging for those shipments. That price is too high for many artists, especially when it means taking a change that fans will actually buy the album once it is complete. Bandcamp’s service not only streamlines production and distribution, but it eliminates the risk factor entirely by funding production through fans. The worst that can happen is that a campaign does not raise the funds required for production, in which case an artist will have to rely on other means of getting physical media to fans.
Bandcamp launched its first brick and mortar store earlier this year. Whether or not releases funded through its new service will appear in the shop remains to be seen.
Publicists can do a lot for your career, but only if you’re ready to work with them.
Every artist wants to find success in their career, but the path to success is rarely the same. What works for one artist or group may not work for another and vice versa.
For example, some artists get ahead with the help of publicist who uses their connections to land the band press opportunities that offer exposure which aide in the development of an audience. Other artists choose to promote themselves, and in doing so often find a quicker route to connecting with listeners. One way is not better than the other. Both offer success, though how it comes and what comes with may vary greatly.
The vast majority of up and coming talent we engage with mention their desire to find a publicist. Most know what publicists do or at least have some understanding of their role, but very few seem to grasp their role in determining whether or not a publicity campaign will succeed. With that in mind, we put together questions that every artist should ask themselves before investing in PR for their career.
1. Is my career even at a point where I need a publicist?
The idea of having someone in your life who spends a part of their day doing whatever they can to get the word out about your efforts sounds like a smart decision, but unless you have something worthwhile to share with the world you’re going to end up wasting a lot of money. Focus on creating the best album/single/video you possibly can, which I can tell you will likely not be your first release, and then think about bringing in someone to help promote. While many professional publicists will tell a band if they think the band is not ready for such a business relationship, there are a number of those out there who will happily take your money and never look back. It’s not on them to have something worth sharing; it’s on you.
2. Can I financially afford a publicist right now?
This may seem like a rather obvious statement, but the truth is many artists do not fully understand the costs associated with having a publicist. Most PR firms require a minimum commitment of 3-months for any project, regardless of whether it’s an album, video, or single. That means for three months you are expected to pay whatever price you negotiate at the time of signing, and failure to do so will likely result in monetary penalties being issued against your group. Avoid this unnecessary trouble (not to mention looking amateur to industry professionals) and double-check your finances before seeking representation. Set a budget and work to find someone who offers you the most ‘bang for your buck.’
3. What am I hoping to accomplish with this campaign, and do I need a publicist to pull it off?
It’s common sense that artists and bands hoping to promote their new releases turn to publicists to help get the word out, but depending on your situation you may be able to handle marketing perfectly fine on your own. There are a growing number of articles and sites dedicated to empowering independent artists, including the one you’re reading right now, and if you’re willing to put in the work yourself, it’s reasonable to assume you can gain at least a small amount of press on your own. Blogs and smaller publications usually post their contact information online, and by reading up on PR tactics, anyone can craft a pitch letter, so as long as you’re okay with Rolling Stone and Pitchfork not giving you the time of day you may be able to do it on your own.
Furthermore, you need to know what you hope to achieve with a campaign. Getting the word out about something is too vague. Do you want more followers? one-thousand plays in the first twenty-four hours of release? Ten interviews a month? All that and more? Make a list of goals and ask yourself if you possess the knowledge and means to achieve them on your own.
4. Do I have high-quality promotional materials ready to go (masters, photos, etc.)?
Publicists spend their day trying to get the word out about their clients, but that does not mean they’re going to create promotional materials to help get the job done. As the client, it is on you to provide your publicist with everything they need to promote your efforts, and it should go without saying that quality plays a big role in whether or not journalists give you some of their oh-so-rare free time. Before you even consider bringing someone else into your career, make sure you have quality materials you want to be shared with the world. If you turn in mediocre media, the returns will likely be mediocre as well. Publicists work with what they’re given, so be sure you give yours the best material you possibly can.
5. What marketing ideas do I have for the release of my album/music video?
This is probably the most important part of this entire list because it’s the area artists most often overlook. Publicists can make amazing things happen for your career, but without guidance and direction from you, they will have no idea what it is you’re trying to convey with your art. This is why when deciding to bring on a publicist it is imperative that you first come up with your own set of goals and ideas for the release. Publicists want to help you, not do the work for you, and starting the relationship with a wealth of ideas on deck will simplify the promotional efforts on their end. By knowing what you expect, publicists can work with you to craft a campaign that’s designed to accomplish your specific goals, and that will lead to better results down the line.
With a growing global audience and low startup costs, podcasts are the next step in digital marketing and fan engagement.
Did you know that 50% of all US homes are podcast fans? How about the fact that over 44% of the entire US population, or roughly 124 million people, listened to podcasts over the last twelve months?
On a global scale, more than one in four residents of Japan, France, Canada, Italy, the United States, Australia, Sweden, and Spain listen to podcasts monthly. In South Korea, more than half of the entire population (58%) listens to podcasts on a monthly is.
These figures and other available online are growing with each passing month. Podcasts were practically unknown a decade ago, but today there are more than 500,000 shows offering millions of hours of entertainment for listeners. Studies show the average podcast fan commits to six or seven shows each week, and most (80%) listen to each episode in full. Podcast listeners are, on average, smart and loyal listeners who actively support the shows they enjoy through either digital promotion, crowdfunding, or engagement with sponsors who make their favorite programs possible.
All this data is impressive, but what is even crazier is how few musicians have decided to engage their fans through podcasts.
A podcast can be anything you want. Some choose to interview people they find interesting, while others stick to a theme or subject. Pop-punk band Waterparks host a series where they read fan fiction about their group. The possibilities are endless!
The perks of having a podcast are numerous, including:
Direct engagement with fans
Ability to deliver new content to fans regularly
A promotional vehicle for tours, albums, and anything else
Creates future promotional material (you can share clips on your social media)
Allows fans to know you better (they don’t have to stalk you, they just have to listen)
Provides a platform to discuss and dissect your art
Potential to create new fans for your music through conversation
Fill time while at home or on the road that is otherwise spent scrolling social media or staring out the window
Potential for extra income, either through fans buying merchandise or sponsors getting behind the show
Podcasts are also incredibly cheap to create. Many shows are recorded using a smartphone voice memo app, but others use the same microphones artists use to create demos in their home studios. Hosting is available through a number of providers, including several that have offers for free hosting to first-time users, as well as free distribution to major platforms such as Apple Podcasts and Stitcher.
Furthermore, with Spotify’s recent acquisition of Gimlet Media and Anchor the streaming giant — who already has a large stake in podcasting — is planning to promote podcasts heavily in the months and years to come. Artists with shows will not only be able to promote their music and vice versa through a single platform, but they will also be able to earn streaming royalties from their podcast. That’s money which, unless otherwise agreed to in a contract, goes directly to the artist behind the show. It’s a side hustle that helps the main focus of an artist’s career in many ways.
Competition is music is growing fiercer by the day, and most acts use the same tricks as every other artist or business or consumer to build their audience. But right now, for what will likely be a very short window of time, there is a market for musicians willing to open up in podcasting that is largely overlooked. Any artist would be foolish to not take advantage of this opportunity. Podcasting offers a chance to grow closer to fans, build an audience, and earn a few extra bucks. What more could you want?
Everyone I know, even those happiest with their position in life, ultimately wants more. They want more time with their family or a better career, better pay, etc.
We all want the best of everything and we would like it sooner rather than later. It is only natural to feel this way, and I’ve learned that such feelings rarely ever go away.
But something that has stuck with me, which took years to learn myself, is how good most of us already have it.
If you’re reading this now it is highly likely you are more than just another person dreaming about the music industry. You are either working in music, interning in music, writing about music, performing music, or in school studying music. You may not have ‘cracked the code’ to this business, but you certainly know more than when you started.
It is because of this that I must implore you to give back. With every bit of success you find there should be a part of you that looks for ways to lift other up as well. There is no one way to become a music professional, but that doesn’t that others cannot learn from your experiences.
Every year I return to my college alma matter. Some years they ask, other times I do, but the goal is always the same: To show the next generation of dreamers that finding a career in music is a thing anyone can do. I share war stories and success, but more than anything I tell them what I wish someone told me.
There are no rules stating that you have to give a damn if anyone else succeeds in music, but you should. You should want the industry to be the best it can possibly be, and I am willing to bet you know some people who could push it in that direction. Their – and your – chances of success rise drastically through teamwork. You don’t have to work together on everything, but you should always be looking for ways to help one another get ahead. That way, should one find success before the other, the person with work will be in a position to help the unemployed find work down the line.
Even if none of that comes to pass, helping one another is a big part of what makes us decent human beings. There is enough evil and hardship. Anything you can do to make someone else’s journey a bit easier without putting yourself in harm’s way should be a no-brainer.
James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music Podcast and a 10-year music veteran. You should follow him on Twitter.
Say what you will about how the age of streaming has decluttered the life of music fans by doing away with the need for physical releases, but ask someone to use those same services to learn the lyrics of their new favorite song and your question will be met with silence. Between Spotify, Apple Music, Pandora, Rdio, and Tidal there is not a single platform that allows users to follow along with a song by reading the track’s lyrics. Those wishing to do that music first open an internet browser, Google a few keywords, and then-9 times out of 10-they will find a non-artist owned site to read from. Any ad money generated from this activity goes to the owner of the site that posted the lyrics and not the artists who wrote the lyrics in the first place.
This was rarely the case when CDs were popular. People talk about holding the album in their hands and how the presence of a physical product gave more value to the fact money was being spent, but for me the best part of owning any record was pouring over the lyrics contained within the meticulously crafted booklet included with each album. When I bought a record and no words were within, I was upset. With enough spins you can learn the words to pretty much any song, but there is something far more meaningful about being able to read and understand them from the first or second listen. It frees the mind to focus more on the music as a whole, allowing listening the chance to properly experience each rise and fall as the artist intended, which in turn gives more meaning to the lyrics.
Regardless of how famous or unknown they may be, every artist should make it a point to post their lyrics online through a site or page they control. If not for the sake of controlling the conversation around your content online, then for the sake of fans new and old. I cannot tell you how many times I’ve discovered a promising new band online, only to become instantly discouraged when there was no place for me to read and decipher the content of their music. Fans want to be able to sing along with the songs they love, regardless of whether or not the words are easy to learn (I’m looking at you, Korean Migos), and when artists do not take the responsibility to educate fans about their art it either gets posted by a third party who then profits for no good reason, or it goes uncovered, as is the case for many smaller bands.
Platforms like Purevolume and Bandcamp offer the ability to add lyrics to streams. They understand that part of the music discovery experience is learning to sing along. They know that once someone finds an artist they feel a connection to they will immediately want to know everything they can about that talent, starting with the words behind the music. They want to see what it is about the words that connect with their life, or what it is about the hook that makes them feel inspired. When no lyrics are immediately available, there is a high risk of quick burnout from new new listeners. An artist’s music may be strong, but in an age as flooded with quality artist as today’s music market it requires a lot more than sheer talent to hold the attention the average music consumer. There needs to be a real emotional connection, and while that may begin with the music, it’s often sealed with the words themselves.
Start today. Don’t wait another minute. Chances are high if you’re an artist reading this now you already have some, if not all of your lyrics stored somewhere on your computer or mobile device. Log onto you numerous streaming accounts, as well as your personal website, and post those lyrics as soon as you are able. Afterwards, promote the presence of these lyrics and invite fans to learn the words before your next show. You can also use this approach for regional marketing, challenging various cities to sing along to singles louder than other cities, or simply encouraging a quick refresher of what’s in store before your big show. Whatever you do, get those lyrics online. Please.
ASK A PUBLICIST is a recurring column on Haulix Daily where we pose a question about music promotion and publicity in 2016 to the team at Catalyst Publicity Group. If you have a question for the team, email james@haulix.com and we’ll try to find the answer.
QUESTION:What value is there in ‘social media takeovers,’ and what should artists hope to gain from such exposure?
Social media is a wonderful tool to gain additional exposure. The value in social media takeovers in particular is that as an artist you are introducing yourself to a whole new group of potential fans. By partnering with a publication, a non-profit, a brand, and so forth you are inviting those social media fans into your world by giving them a sneak peek of your project. Often times during a social media takeover artists will give fans a behind the scenes look at the making of an album, a music video, tour life, or a significant day for the artist such as a festival performance and so forth.
Think of social media takeovers as a more targeted approach to reaching a new audience (who will already likely enjoy your style of music, if the brand you are taking over aligns right). Typically when an artist takes over a social media account, whether that be Facebook, Twitter, Instagram, Snapchat, Periscope, and the likes it is important to remember that not all of those fans on said platform will know who you are or follow you back on social media. If you want to be remembered and attract new fans, don’t forget to consistently re-state your name, use a particular hashtag to follow the takeover and tag your social media accounts. It is as beneficial as sharing with your own fanbase, and then some. You are giving an “elevator pitch” and a glimpse into your life, so make it meaningful and powerful to keep those new fans intrigued about what you have going on. Don’t forget to give it a more personal approach, giving fans (old and potential) a look at life behind the scenes, the work you are putting into your career, and what it takes to be in a band. It draws a higher level of respect towards and interest in the artist.
In music today, success is hard to quantify in numbers because success is so much more than just likes and followers. It’s also how many people are talking about you, will come see you at a show, or at least recognize your name enough to check you out when you pass through their town on tour. Will you get more followers from takeovers? Probably. Will it be a lot? Probably not. But your name is out there to a whole new group of people who didn’t know you before, and that’s the takeaway lesson for today.
This is the latest post in our ongoing collaboration with SonicBids.
In today’s highly competitive music industry, it seems like it’s becoming harder and harder for independent artists to break through the noise into the mainstream. Record labels are constantly bombarded with samples from “the next big thing,” but what’s the trick to actually standing out from the crowd? A high-quality demo is the perfect place to start.
A demo is a recording that demonstrates the talent behind an artist or band, usually created specifically for the purpose of convincing a record company (or other opportunities) that they should work with you. It needs to be well thought out, but come off as authentic. Short and sweet, but deep and powerful. Good quality, but not overproduced.
So what are some of the trade secrets to recording a great demo? Here are some tips and tricks.
1. Have a unique vision for where you’re going
It’s crucial when laying down the initial take to be thinking about the overall shape and vision for the idea. It’s a demo, of course, and when being spontaneous you might not want to write detailed parts.However, after you’ve built a strong foundation for a song, every other musical decision you make will come easier because it’s based off of something that is real to you. It’s that genuine passion that can ultimately come out when a record executive listens and helps you stand out, as guitarist Jack Côté explains: “My best guess at what the ‘it’ factor is, is something that’s catchy – familiar enough for people to enjoy, but also different and unique, bold and honest as possible. I think people can tell easily when things feel derivative, so it’s mostly about being as musically unique as possible.”
2. Capture ideas on the fly
Traditionally, recording a demo could only be done in a recording studio. It required time and energy spent writing the actual song, then countless hours rehearsing it before paying to make the final recording. Now, thanks to the ever-changing world of technology, musicians can capturing ideas right as inspiration strikes. They don’t always have to be fully fleshed-out ideas, but rather can serve as a reminder of great thoughts for future reference.
“Where we’ve had great traction as a band is capturing those spontaneous, genuine moments,“ shares Matt Hines of Dan & The Wildfire. "We often jam, trying out new ideas, committing those sparks of inspiration to a recording simply to listen back to later, and so as not to forget that riff we liked by the next time we meet. It’s such a joy to be able to go back and listen through so many ideas and rehearsals and moments from the past few years.”
3. Don’t sacrifice sound quality
Five years ago if you told a record executive you were submitting a demo that was recorded on a phone, they would have laughed you out of the room. Even today, when recording on the go is becoming a more common occurrence for independent artists who are often traveling from gig to gig, chances are recordings will come out sounding awful, thanks to the less-than-superior microphones on today’s smart phones. Luckily, there are new apps out there that exist to help solve this problem. One of them is Spire, powered by iZotope. Spire is a free 4-track recorder that adds professional polish to your recordings so you can record, mix, and share great-sounding audio anytime inspiration may strike.
No matter how you end up recording a demo, the important thing to remember is to make it a reflection of who you are as an artist. Staying inspired and motivated are traits you should never lose in this industry, and will only help drive you towards that breakthrough musical moment!
Spire is partnering with Sonicbids to discover the best original tracks to feature on the Inspired Collection, an official Spire SoundCloud playlist. To enter, just download the free Spire Recorder app (iOS only), record your original song, and enter it for free on Sonicbids by December 2, 2015.
In addition, the songwriter with the most incredible song will be selected to be featured in a performance video, shot in their favorite recording space. We’re so excited to hear all your original creations! Be sure to enter by December 2.
Stacey Dyer Messier is the strategic, creative liaison between product and marketing for the Spire brand, which is passionately designed by iZotope. As a trained vocalist and past performer of metal, jazz, trip-hop, and classic rock, she’s excited to be working with the incredibly talented members of Sonicbids.
Here is the latest post from our friends at SonicBids.
Waiting for your music career to take off is a tough game of patience and perseverance. You’ve got fans who believe in your work and genuinely want to support you and see you succeed. Maybe you have fans like this all over the world! You might be making some revenue off of your music, but it’s not easy to make a living wage as a musician. So, when rent is due, how do you get by? Well, there are several options to make money in music. And trust me, you’ll likely have a much better time making your survival job one in the music business, as opposed to grabbing a gig you’re not at all passionate about. It will feel real and connect back to your own career as a musician, informing you on aspects of the industry you otherwise wouldn’t have known. Here are some good (and usually flexible) gigs you can make a decent amount of money doing until your music covers all the bills. Who knows – you might even discover a new passion!
1. Music journalism
As a passionate musician, chances are that you have no problem talking at length on what you like about a piece of music. Sure, you’ll have to leave most of the technical talk out of the picture and instead use more ubiquitous, journalistic language. However, it’s still an expressive, music-focused job. You may even have the chance to interview some of your favorite artists and connect with them in a way you might not have been given the opportunity to just as a musician.
Artists (for the most part) love press. While it’s not guaranteed you’ll make the big bucks right away, music journalism is a great freelance gig for any musician looking to make money in the industry. And from being on the other side of the coin, you may even learn a thing or two about how to do your own press! (Editor’s note: If you have some expertise in the music industry, you can apply to be a contributing writer for the Sonicbids blog!)
2. Music photography
This is a more refined skill set to have, but if you have experience taking and editing professional photos, you can freelance for venues, music publications, record labels, and artists. Even if you don’t have experience, it’s a skill you can likely pick up quickly with your already-in-place creative aptitude from music. Every musician needs high-quality press photos for their EPK. Find work out in your scene, and be open to collaborating in new ways with artists you like.
3. Work at your local venue(s)
Chances are, your favorite local venue needs another box office person during the busier months. Or maybe they need help with production or security. Your best bet is to try to apply during fall or spring if it’s an indoor venue, and summer if an outdoor amphitheater. You might not be doing the most interesting job in the world, but you could be working alongside national acts that come through your town, learning the ups and downs of what it takes to run a smooth show. And hey, you’ll earn some extra cash while you’re at it!
4. Teaching
This is one of the most obvious moneymaking side jobs for any musician, and chances are you’ve already done it, are doing it, or have applied to teach. Typically, it’s required that you have some type of music education degree, or at least a degree in music. But fear not, if you don’t have either, you can teach privately, or find the right studio that understands your musicality is sufficient to teach. If you teach for a studio, you might make a little less, but you’ll have a steady flow of work. On the other hand, teaching privately is where you can really start to earn more money. A combination of the two (if the studio allows you to teach outside lessons), and you’re on your way to next month’s rent! Also, teaching music really keeps you in check as a musician. Most artists find it fulfilling to see their students succeed. Music is a gift – pass it on!
5. Instrument repair
Being an instrument repairman takes a certain skill set, but you’ve likely already had experience custom-fixing your own instrument to save that expensive Sam Ash trip. If you have those inborn handyman skills, apply them to music! You might need a bit of shadowing at first, but being an instrument repair tech is a great way to make extra money. Plus, you may learn a thing or two about how to make your instrument sound even better!
6. Session or stand-in musician
You’ve got the chops and the ear – why not lend them to someone else? Being a session musician can be great freelance work. It’s competitive, sure, but once you’re in, you can prove yourself quickly. Also, being a stand-in musician for other bands is a great way to earn extra money. Maybe you’re an upright bass guru – let people hire you to join in on their shows when their guy flakes or just can’t make the part. I know that your own material is where you see yourself truly taking off, but for now, to keep your electric bill paid and still play music, consider lending your skills out to other artists who will surely appreciate them!
Sam Friedman is an electronic music producer and singer-songwriter based in Brooklyn, NY. His music blends experimental ambience with indie-driven dance music. In addition to pursuing his own music, he is a New Music Editor for Unrecorded and is passionate about music journalism. Check out his music and follow him on Twitter @nerveleak.
Hey there, everyone. We are thrilled to learn you chose to spend a few minutes of your day browsing our blog. The post you’re about to enjoy was written by our friend Andrew Jones, founder of The Checkered Owl, and it’s something both artists and writers alike can learn from.
This site exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found onTwitter and Facebook.
The music industry, like much of our society, can become obsessed with what is new: The new better way to sell music, the new way to connect with fans, the new DAW to record your new album. Many blogs are written, podcasts recorded and conferences held about the newest and most promising options; and this, in large part, is good. In fact you will notice if you look back at the Checkered Owl blog we write often about new tech and strategies. But if you pay attention to culture and society, you will notice a shift…
People are beginning to embrace old. Vinyl records, knitting, film cameras, pot lucks, gardening, simpler vacations, local foods, house concerts, they are all making a resurgence. But why?
I believe, in many ways people are wanting to return to something simpler. To personal connections, to a time with a moral compass, when people knew what was expected of them. We look back to our grandparents and great-grandparents and realize maybe with all our steps forward, we may have left somethings behind.
But what does this have to do with your music? Am I suggesting that you return to recording mono on a 4-track recorder? Probably not, however I think there are many lessons from the past young musicians could learn from, certain things no Facebook analytics can teach you.
Look back. Read about how musicians in the 50’s cut and sold records on the cheap before there was a large established industry. Learn about how labels like Motown and Chess built a community. Understand why U2 intentionally toured in too small of venues for many of their early US tours. Try to get your mind around the psychology of the KISS army. Study why Elvis Presley, Buddy Holly, Carl Perkins & Johnny Cash would all head out on tours together instead of going it alone. Find out WHY Van Halen’s rider famously asked for all the brown M&Ms to be removed.
Pay attention to new ideas and tech, you need to. But if you are really interested in building a great career, look at those who have already done it…you just might learn something.
This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.
