STINKIN ATTITUDE AND MUSIC

We talk about music technology, social media, and all the gobbledegook about the music business, all the time.  One thing I have failed to talk about is attitude.  Without the proper attitude all the rest is academic and worthless.
   

• The thermometer of success is merely the jealousy of the malcontents.

• Salvador Dalí
• When your work speaks for itself, don't interrupt.
  Henry J. Kaiser
• An artist cannot fail. It is a success just to be one.
  Charles Horton Cooley
• Art should never try to be popular. The public should try to make itself artistic.
  Oscar Wilde
• Do not let what you can't do interfere with what you can do.
  John Wooden
• The shorter way to do many things is to do only one thing at a time.
  Wolfgang Amadeus Mozart
• The world makes way for the man who knows where he is going.
  Ralph Waldo Emerson
• Calling the product music is like selling a shopping cart and calling it groceries.
  David Byrne
• Some succeed because they are destined to, but most succeed because they are determined to.
  Henry Dyke
• Obstacles are those frightful things you see when you take your eyes off the goal.
  Hannah Moore
• No one can make you feel inferior without your consent.
  Eleanor Roosevelt
• You do not merely want to be considered just the best of the best. You want to be considered the only ones who do what you do.
  Jerry Garcia
• When you chase music for money, God walks out of the room.
  Quincy Jones
• Whoever controls the media, controls the mind.
  Jim Morrison
• The artist has one career. The manager has as many careers as they have artists. The record company has as many careers as it has artists.
  Robert Fripp
• When a record company makes a mistake, the artist pays for it. When the artist makes a mistake, the artist pays for it.
  Robert Fripp
• If you don't believe in your music, no one else will.
  Mark Bartomeli
• It's not how heavy you are are in the business, but how long you're heavy.
  Bruce Wendell
• In music, the majors and minors work together quite well.
  unknown
• An oral contract isn't worth the paper it's written on.
  Sam Goldwyn
• Pay no attention to what the critics say; there has never been a statue set up in honor of a critic.
  Jean Sibelius
• Somebody said to me, "But the Beatles were anti-materialistic." That's a huge myth. John and I literally used to sit down and say, "Now, let's write a swimming pool."
  Paul McCartney
• Music is spiritual. The music business is not.
  Van Morrison
• Making music should not be left to the professionals.
  Michelle Shocked
• If being an egomaniac means I believe in what I do and in my art or music, then in that respect you can call me that. I believe in what I do, and I'll say it.
  John Lennon
• Your responsibility is to tell the truth, not the facts, necessarily. It could be the facts, but it's basically the truth. That means being a truthful person.
  
  You can't tell the truth in your work if you don't tell the truth in your life. So I encourage you to be scrupulous in your truth ethic.
  
  Even when no one's looking - especially when no one's looking. Just for yourself.
  Rosanne Cash
• Without Elvis, none of us could have made it.
  Buddy Holly
• Half the battle is selling music, not singing it. It's the image, not what you sing.
  Rod Stewart
• This land is your land & this land is my land - sure. But the world is run by those that never listen to music anyway.
  Bob Dylan
• I go through a thousand songs to find ten for a new record.
  Conway Twitty
• If you're not being sued by someone, then you must be doing something wrong.
  Michael Ovitz
• Videos destroyed the vitality of rock 'n' roll. Before that, music said, "Listen to me." Now it says, "Look at me."
  Billy Joel
• I think one of the reasons I'm popular again is because I'm wearing a tie. You have to be different.
  Tony Bennett
• When the going gets weird, the weird turn pro.
  Hunter S. Thompson
• If it wasn't for pimps, prostitutes, hustlers, gangsters, and gamblers, there wouldn't be no jazz! They supported the club owners who bought the music. It wasn't the middle-class people who said, "Let's go hear Charlie Parker tonight."
  Betty Carter
• Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read.
  Frank Zappa
• I am glad so many women singers are being heard in music today. It is healthy for music because it means a lot of men are listening!
  Judy Collins
• Trying to get into the music business without some real business savvy, is like riding blindfolded to the Little Big Horn.
  
  Let's face it, Custer DID have it coming.
  Earl Thomas Sears
• Give the people what they want, and they will give you what you want.
  William Ballester
• I wish there had been a music business 101 course I could have taken.
  Kurt Cobain
• Don't try to explain it, just sell it.
  Colonel Tom Parker
• You're a local band until you get a record contract, then all of a sudden Bruce Springsteen is your competition.
  Sammy Llana
• If the milk industry can make their product seem sexy and increase consumer demand, there must be hope for music.
  Gary Arnold, Merchandising Manager, Best Buy
• Without music, the greatest marketing plans in the whole world don't mean shit.
  Eddie Rosenblatt, Geffen Records
• I've probably put together more deals backstage at concerts than by telephone.
  Michael Lippman
• Money had never been the main thing for me. It's the legacy that was important.
  Berry Gordy
• The hardest thing in the world to do in this business is start a band nobody's heard of.
  Tom Whalley, Interscope Records
• Anybody that forms a group, writes songs and releases records and says they don't care if people like them are complete liars.
  James Dean Bradfield
• Independent labels take nothing and make something out of it. Major labels buy that something, and try to make more out of it.
  Tom Silverman
• Modern music is people who can't think signing artists who can't write songs to make records for people who can't hear.
  Frank Zappa
• We live in an age of music for people who don't like music. The record industry discovered some time ago that there aren't that many people who actually like music. For a lot of people, music's annoying, or at the very least they don't need it. They discovered if they could sell music to a lot of those people, they could sell a lot more records.
  T Bone Burnett
• If you don't ask, the answer is always no.
  Tony Robbins
• If you don't ask, you don't get.
  2 Skinny Js
• Don't confuse being busy with being productive.
  
  Just because you're busy all the time doesn't mean you're getting closer to your goals.
  Karen McKenna
• Don't give up, but don't give up your day job.
  Robert H. Schuller
• You are whatever you pretend to be.
  Kurt Vonnegut
• The determination to win is the better part of winning.
  Daisaku Ikeda
• 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
• Only someone who truly loved what they were doing would endeavor to play an instrument that callused the most sensitive parts of their fingertips.
  
  Only someone who truly loved what they are doing would endeavor to enter into a business that callused the most sensitive parts of their art.
  Danielle Egnew
• Music is the language that can only be heard when you get your own thoughts out of the way.
  Danielle Egnew
• There's only one way to find out if something works: get off your ass and do it!
  Amod Dange
• The most popular form of transportation in the music business is the bandwagon.
  David Hooper
• The thought of being a rock star is a lot more fun than doing the actual work that it takes to be a rock star.
  David Hooper
• If a man gets up in the morning, goes to bed at night, and does what he pleases inbetween, he's a success.
  Bob Dylan
• After he'd done a show in Nashville, James Brown asked me to engineer a session for him there. Well, there were no flights available, so I jumped in the car and drove all the way.
  
  It took me five hours to get there, and as soon as I arrived at the studio James and the musicians were ready to record, so we cut four tracks and then, before I left, James told his manager, "Give Ron ten percent of that last song."
  
  The song was "Sex Machine" so we wrote up the songwriter's contract and I've been collecting on it ever since!
  Ron Lenhoff
• A&R people are clueless. If they knew what was going down they would all be multimillionaires, wouldn't they?
  Mickie Most
• I received a special delivery letter from Colonel Parker (Elvis' manager) with a note saying, "Dear Jerry, we expect you here by the weekend. Enclosed you'll find your contract for the new movie score and the recording sessions that are to follow."
  
  However, behind the cover letter was this blank page with just the space outlined for Parker and I to sign and date. There as no contract!
  
  So, I spoke with him on the phone and when I pointed out to him that there had been a mistake he said, "What mistake?" I said, "Well there's a page for the signatures but I don't see any contract." He said, "That's the contract!" I said, "Tom, there's nothing written on the page."
  
  He said, "Well, boy, you just sign it. We'll fill it in later!"
  Jerry Leiber
• I was with Decca from 1953 to 1960, and I learned more about the business during that time than any other.
  
  You see, the great thing about being the head of A&R in those days is that you were the guy who really made all of the decisions with respect to songs, with respect to the sound and the arrangements, with respect to what records came out and when they came out. You controlled everything.
  
  Today everything is done by committee. I mean, nine guys have to get together before they can even put out a record.
  Bob Thiele
• You've got to be able to hold a lot of contradictory ideas in your mind without going nuts.
  
  I feel like to do my job right, when I walk out onstage I've got to feel like it's the most important thing in the world. I've also got to feel like, well, it's only rock and roll.
  
  Somehow you've got to believe both of those things.
  Bruce Springsteen
• I don't care who likes it or buys it.
  
  Because if you use that criterion, Mozart would have never written Don Giovanni, Charlie Parker never would have played anything but swing music.
  
  There comes a point at which you have to stand up and say, this is what I have to do.
  Branford Marsalis
• You can build a wall to stop people, but eventually, the music, it'll cross that wall.
  
  That's the beautiful thing about music - there's no defense against it.
  
  I mean look at Joshua and fuckin' Jericho - made mincemeat of that joint. A few trumpets, you know?
  Keith Richards
• You can tell whether a person plays or not by the way he carries the instrument, whether it means something to him or not.
  
  Then the way they talk and act. If they act too hip, you know they can't play shit.
  Miles Davis
• I talk to many young painters, because I teach art in schools. I ask them:
  
  Why do you think that what you do ends at the edges of this canvas?
  
  Think of the frame. What frame are you working in? Not just that bit of wood around the edge, but the room you're in, the light you're in, the time and place you're in. How can you redesign it?
  
  I would say that to musicians, too. I see them spending a lot of time working on the internal details of what they're doing and far less time working on the ways of positioning it in the world.
  
  By "positioning it" I don't only mean thinking of ways to get it to a record company, but thinking of where it could go, and where it fits in the cultural picture. What else does it relate to?
  Brian Eno
• WRITER TO FRANK ZAPPA:
  Have there been parts of your life that you've neglected because you've been absorbed in your music?
  
  FRANK ZAPPA:
  Well what am I missing? Do I regret not going horseback riding, or learning how to water ski? Well, no. I don't want to climb mountains, I don't want to do bungie-jumping. I haven't missed any of those things. If you're absorbed by something, what's to miss?
  Frank Zappa
• Some people have a great sense of moral responsibility. Unfortunately it's backed up with a poor sense of musical taste.
  
  Other people have great musical ability, and very little sense of moral responsibility.
  
  It's very difficult to have a good balance.
  Eric Clapton
• I remember coming to a concert where they had a big catered meal set out for everyone.
  
  I went and said, "Miles, man, you gotta see all this food they got here."
  
  And Miles said, "I didn't come here to eat."
  
  (told by Gary Bartz)
  Miles Davis
• I saw Bob Dylan getting criticized in Australia by this guy who was saying, "Your new songs aren't as relevant as your old songs."
  
  And Dylan just said, "Well, I'm out here writing songs - what are you doing?"
  Bob Dylan
• Differences of opinion are part of collaborating with another human being.
  
  But music is not a competitive thing. I don't want to deal with someone who's in competition with me. I want to work together to make music.
  Eddie Van Halen
• Take it easy, but take it.
  Woody Guthrie
• The general attitude is, "I want it, and I want it now!"
  
  But it really takes years if you're going to do it right, and a lot of kids just don't want to take the time to work on it and see where it's all going, and what it means, and where it comes from, and how they should apply it and use it in playing their songs.
  
  It doesn't make any difference how technically good you are or fast you are or how many notes you know. You just can't do it in two years.
  Johnny Winter
• You can't compute or calculate the chemistry that arises when you put together a band.
  
  No one knows until you start working together.
  Jimmy Page
• Not everyone is going to like what I do, and that's something I can accept.
  
  If everyone liked what I did, I probably wouldn't be playing anything of depth.
  Joshua Redman
• To me, the ideal audience-to-artist relationship is one-to-zero relationship.
  
  I'm not happy with words like "artist" and "public" and the hierarchical implications.
  
  The artist should be permitted anonymity, unaware of the presumed demand of the marketplace. They'll make contact on a much more meaningful level.
  Glenn Gould
• Don't be ashamed of your own ideas. Most musicians get applauded for sounding like someone else.
  
  People try something out that they think is exciting, and everyone looks a little unsure. Then they play an old James Brown riff and everyone's saying: 'Wow! That's what we want!'
  
  Most of the time musicians are being encouraged to sound recognizable. What I'm doing [as a producer] is encouraging them at the points when they're not.
  Brian Eno
• One of my mottoes is that if you want to get unusual results, work fast and work cheap, because there's more of a chance that you'll get somewhere that nobody else did.
  
  Nearly always, the effect of spending a lot of money is to make things more normal.
  Brian Eno
• I always liked the cusp where something feels if it's familiar but strange at the same time.
  
  It doesn't immediately assault you as being completely weird. You feel seduced by it. But at the same time you can't put your finger on what it is that you recognize. It's a very good feeling.
  Brian Eno
• People are hearing a lot more context than music, so perhaps I accept that I am now primarily a context maker.
  
  My art is not just what comes out of the end of my trumpet or appears on a record, but a larger experience which is intimately connected to who I appear to be, to my life and charisma.
  
  The 'music', the sonic bit, could end up being quite a small part of the whole experience.
  
  Developing the context- the package, the delivery system, the buzz, the spin, the story - might itself become the art. Like perfume...
  Brian Eno
• When you listen to Miles Davis, how much of what you hear is music, and how much is context?
  
  Context is everything that isn't physically contained in the grooves of the record. It includes your knowledge that everyone else says he's great: that must modify the way you hear him. That he was a handsome and imposing man, a member of a romantic minority, that he played with Charlie Parker, that he spans generations, that he underwent various addictions, that he married Cicely Tyson, that he dressed well, that Jean-Luc Godard liked him, that he wore shades and was very cool, that he himself said little about his work, and so on.
  
  Surely all that affects how you hear him: I mean, could it possibly have felt the same if he'd been an overweight heating engineer from Oslo?
  
  When you listen to music, aren't you also 'listening' to all the stuff around it, too?
  Brian Eno
• The way children learn is by pretending, imagining what it would be like to be in another situation, which is the essence of culture.
  
  There's this crazy supposition that at the age of 16 or 18 you should suddenly switch all that off because you now know what you're doing, but the people I find interesting are the ones who carry on playing that game.
  Brian Eno
• Being completely free to choose what to do is actually quite difficult: it can lead you to very depressive crises.
  
  If your time is structured you don't have this problem of "what am I going to do today?"
  Brian Eno
• A strong opinion is very useful to other people.
  Brian Eno
• Luck is being ready.
  Brian Eno
• "Hollywoodization": This is the process where things are evened out, rationalized, nicely lit from all sides, carefully balanced, studiously tested against all known formulae, referred to several committees, and finally made triumphantly unnoticeable.
  Brian Eno
• You have to have a measure of arrogance in dealing with anybody in the business. You have to feel that you're right, because ultimately you're not able to trust anyone else's judgment of your work.
  
  If your judgment isn't clear, then their judgment will make no sense to you either.
  Brian Eno
• Musicians and other artists interact constantly with at least two types of systems: systems of aesthetics (what will sound good? what type of music to work with?) and economic systems that reward, or fail to reward, their efforts.
  
  If you're confronting a set of results that you don't want, rather than trying to force the existing system to yield up a different kind of results, you might better spend your energy creating an alternative system!
  
  This could mean anything from establishing your own concert outlet for non-commercial music to designing your own microtonal scale.
  Brian Eno
• When you place a piece of work in the world, you place it in terms of a set of expectations.
  
  (Eno reaches into his pocket and draws out the latest album by rap group De La Soul.)
  
  When this group released this album, they put it in a package that tells you exactly what kind of focus to bring to hearing it. You're not going to listen to this the way you listen to Mahler or to Stan Kenton.
  Brian Eno
• People in the arts often want to aim for the biggest, most obvious target, and hit it smack in the bull's eye.
  
  Of course with everybody else aiming there as well that makes it very hard and expensive to hit.
  
  I prefer to shoot the arrow, then paint the target around it. You make the niches in which you finally reside.
  Brian Eno
• Often in life you are confronted by many possibilities. The best thing you can do is just go for one with a quick decision, then make that choice work for you. It takes you to interesting places with surprising results.
  Brian Eno                                                                                                                                        We already live in a world with enough turmoil to go around. One thing the creative world does not need to add to it is a bad.   J. GRADY
  
  Don't let a bad attitude cloud your vision of the road to your goal.   J. GRADY
  
  
  Don't drink from the sewer.  J.GRADY
  
  
  The quickest road to success is to help someone else find their way.  J. Grady
  
  
  Help us make music-land a better place to live in. 
  J. Grady
  
  Feed your mind the right chow. J.Grady.                                                                                 My point is attitude is not free you have to work for it.                                                              
• Admirers can be a tremendous force for conservatism.
  Brian Eno                                                                                                                                                                                                                         

#MUSIC INDUSTRY TRANSFORMATIONAL INNOVATION

TRANSFORMATIONAL INNOVATION - That's a cool tag.  What does it mean?  "Relating to or involving transformation or transformations."  Ok then!  Did you get that?  How about innovation?  a new method, idea, product, etc... While these definitions are clear, precise, and simple, TRANSFORMATIONAL INNOVATION is probably the most difficult task at hand right now for the music industry.  You have the record labels scrambling to hold on to their piece of the sky, while the indies are eating their piece of the cake, while the Digital download industry is chewing their cud, and radio is just choking.  I know this is a lot of mixed metaphors, I'm just saying.  It's kind of like watching a fish flop around in the bottom of the boat after you just caught him.  What is going on?

I spend a lot of my days doing research and speaking with music industry folk.  I have found there are as many opinions as people as to where the music industry is going.  I will say this.  The industry is transforming and innovation will lead the way.  We're just not sure where yet.  Although, there is some clarity beginning to surface.  The good news is it is very favorable on the Artist/writer side of the equation.  For that I'M THANKFUL.

This blog is not intended to give you any answers.  This blog is to let you know we are on top of things and we at AMP will bring you any new developments as they arise.  So be patient, work on your craft, and in the mean time; NETWORK NETWORK NETWORK and don't give up.  There is plenty of juice out there for everyone. That's my last metaphor, I promise.

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WHAT DOES GOD SAY ABOUT MUSIC

 I have heard some radical thinkers say music is evil. So is the Bible if  it's used wrongly. Apparently God must have thought highly of music since it is referenced over 1150 times through out the Bible. I wrote a book called the contemporary movement of the Wac - o - stolics it's about how the Bible has been misrepresented through religion by Waco's. Shoot me , I said it. God love's music and even say's we will be jamming in Heaven. Maybe not jamming, but doing a lots of singing. Sing unto the Lord, make a joyful noise unto the Lord.; just a couple of verses mentioned in the Bible.

Here are some interesting facts about music from the Bible

Jubal. Genesis 4 is where the genealogies are found. In Genesis 4:21, Jubal is named "the father of all such as handle the harp and organ."

What instrument did Miriam play after being delivered from Egypt and crossing the Red Sea on dry land?

Timbrel. Exodus 15 tells of how the Hebrew people celebrated their freedom from Egypt. Miriam, Moses's sister, took up her timbrel in Exodus 15:20.

Where in the Bible is dancing first mentioned?

Exodus. Exodus 15:20 describe Miriam and the women dancing as they played timbrels. They were also singing to the LORD for delivering them from slavery in Egypt.

Where were the children of Israel when they hung their harps on the willows?

Babylon. Psalm 137 tells of when the children of Israel were in exile in Babylon and they hung their harps on the willows, weeping when remembering Jerusalem.

When was the first trumpet mentioned in the Bible blown?

Exodus 19:16. The first trumpet was blown when God came down to Mount Sinai before the Ten Commandments were given.

Where is the harp first mentioned in the King James Bible?

Genesis 4:21. Genesis 4:21 tells of Jubal, "the father of all such as handle the harp and organ". This is the first mention of that instrument.

What is the name of the first person the King James Bible specifically mentions as playing the harp?

David. This first account of a harp player appears in I Samuel 16, when David played for Saul to refresh him from an evil spirit.

How many strings did David's instrument have in Psalm 33?

Ten. Psalm 33:2 records that David played an instrument of ten strings.

How many different types of musical instruments are mentioned in Psalm 150 (King James Bible)?

Seven. The last chapter of Psalms lists the instruments played: trumpet, psaltery, harp, timbrel, stringed instruments, organs and cymbals of various kinds. The other chapters of this book talk about all of creation praising God.

How many types of musical instruments are mentioned in the book of Revelation?

Two. These references are found in Revelation 5:8, 8:6, 14:2 and 15:2. Only harps and trumpets are mentioned in the Book of Revelation.

Don;t you think it's time we lighten up? Enjoy the music, God gave it to you. Use it wisely. That's between you and him. Don't be a Wac -o - stolic. IF you want to know more about what the Bible say's about music, read your Bible and decide for yourself.

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