The Jim Carrey Doc

It’s worth watching. It’s weird and artistic and at times uncomfortable. 

Throughout the documentary modern-day Jim Carrey is interviewed, talking about his life throughout the 90’s.

He said he’d go to bed every night thinking “what do they (the people) want next” and then next and then next.

But one night he said it really clicked.

“What do they want?”

“They want to be free from concern”

And he decided the best way to give that was to be viewed as someone who was in fact completely free from concern. 


I’m not saying that’s your answer too. But I will say that type of answer is probably in the ballpark. (Notice his answer wasn’t “better jokes” or “more outlandish antics”…though that’s what happened as a result of the realization)

If you’re answering that question with “more kick drum” or “a little lighter jean color”, you’re missing the purpose of the question.

The kick drum and jean color questions are already answered when you answer the real question underneath.

Jim Carrey answered that question in a very deep, cerebral, spiritual, business savvy way…and in doing so went on to be Jim Carey.

Maybe if you answer the question in a similar fashion you’ll go on to be…well…you.

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I’m always interested in your perspective, whether affirming or dissenting. Continue the conversation anytime: gabethebassplayer@gmail.com

Music Docs

One of the things music documentaries work so well for is to get people into an artist they don’t already like.

It’s saying “you might not like our music, but if we explain ourselves to you maybe you will”.

And it works a lot! And that’s completely ok and fantastic.  Keep watching em’ and keep making em’.

90 minute explanations (about you and your music) are great and interesting, informative and even inspiring…But the hope is you don’t need each potential fan to watch a documentary about you before getting into your music.

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I’m always interested in your perspective, whether affirming or dissenting. Continue the conversation anytime: gabethebassplayer@gmail.com

The Not Knowing

Whether it’s playing a show, playing people the recorded music, social media posts, tour press, TV, radio interviews…these days after you do any of those things you want to know if it worked, if it connected, if the metrics are what they need to be…if you can get enough outside reassurance that you did a good job to feel good yourself.

But what if you made a song that is someone’s favorite song but they never get a chance to tell you?

What if you made a hilarious Instagram post but they were too laughing so hard they forgot to ‘like’ the post?

What if you said something profound in an interview that went out to millions but no one in the room thought it was profound so you never got credit for your profoundness?

Know this…you’ll never know the extent of what your music and presence mean to people.

For every person who gives you a heartfelt genuine compliment, there are 10 or 100 or 1000 who just forgot to say it…but still thought it and still hold you in just as high esteem as the person who actually told you.

The truth is someone’s probably listening to your music right now.  But you don’t know that FOR SURE and you’re not gonna get on your phone and call or click around till you find someone who is.

You’ll have to be ok with not knowing. You’ll have tone ok with doing really great work at all times and for that great work to spread in a way that you’ll never know.

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I’m always interested in your perspective, whether affirming or dissenting. Continue the conversation anytime: gabethebassplayer@gmail.com

Pancakes pt 2

The pancakes are already as good as they are. The recipe has been developed and tested and is now ready to be sold to the audience.

So whether they are priced at $.89 or at $8…the actual pancakes are what they are at this point.  The price now has more to do with marketing: what we’re thinking about as we consider ordering them and possibly eat them.

As is with your show. The recipe for your show is what it is at this moment in time.

So if you have a good or even great show, why would you charge $1? That doesn’t help anyone. There aren’t many people looking around for a great show where $2 is too much but $1 is just right.

And it doesn’t make you any money. It doesn’t help you experience your value. It doesn’t help me (the audience) mentally commit to the night.

If you have a recipe for a great show or great pancakes, you need to charge us for it.  

It helps everyone.

 

p.s. For those asking…It’s Burger King with the $.89 pancakes.  I don’t even believe their claim on burgers.



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I’m always interested in your perspective, whether affirming or dissenting. Continue the conversation anytime: gabethebassplayer@gmail.com

$.89 Pancakes

A fast food restaurant not far from my house is advertising $.89 pancakes on their marquee.

But I’m not looking for $.89 pancakes, I’m looking for a great pancake experience, regardless of price.  

(and as a side note, at this point in life I’m willing to shell out for pancakes)

In a similar sense…

I know making your show $2 or $3 or $5 for people to get in sounds like a good marketing idea to fill up the venue (and I’ve tried it before)…but it turns out most people don’t want a $2 show as much as they want a great show, a great night.

If you can provide people with a great night you can charge whatever you want…it’s no longer about getting a deal, you’re no longer trading on price.

It’s no longer about $.89 pancakes, it’s about a magnificent, indulgent pancake victory…no matter the cost.

p.s. What if the next goal wasn’t to go from $.89 pancakes to $.79 pancakes, but to go from $.89 pancakes to $25 pancakes?


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3 Beatle Singers. 2 Beatle Mics.

The Beatles had three lead singers but only two vocal mics on stage. 

It wasn’t because they couldn’t afford a third mic. 

And It wasn’t because the road manager always forgot to ask the production crew to set up a third mic.

It was because for them two mics told a clearer, truer story than three mics

They didn’t NEED to share mics, but they did.  Why?

With only two mics we got to see them be in very close proximity to each other, play off each other, smile, and have different visual combinations: Paul w. George and John solo, John w. George and Paul solo, Paul solo and John solo, etc, etc. 

The audience in the 60’s (and all of us today) wanted to see them as a band, a gang, that they were very close with one another while each having his own personality. And with the close physical proximity it highlighted in great detail the similarities and differences of each of them.

That visual is incredibly powerful for how we perceive people.

And that was a big part of their magnetism. That they had this chemistry that we could SEE…and they made sure we didn’t miss it.

You don’t need anyone’s permission to take this idea and apply it to how you tell your story on stage. You could even start right now.

p.s. Notice…They didn’t share amps…the audience wouldn’t have been able to experience that sharing. It would have gone un-noticed…and the sound would have been even worse :)

p.p.s. It’s also interesting that the front center of the stage was rarely filled. THAT’s maybe the most impressive part…as front center of the stage is thought of as the most powerful place…an idea that I agree with moooooooost of the time.

p.p.p.s. I haven’t forgotten about Ringo. I’m actually quite a Ringo fan. And he had a vocal mic, but only when needed for a special lead vocal…which, we can all agree, was the right call.



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I’m always interested in your perspective, whether affirming or dissenting. Continue the conversation anytime: gabethebassplayer@gmail.com