Archive for the ‘left field’ Category

Musicians Don’t Write Your Own Songs

April 27, 2019

CALLING ALL MUSICIANS!!!
PLEASE! PLEASE! PLEASE! don’t write your own songs!

HERE GOES: I’ve never heard your songs, but I can say with 99.9% accuracy that they are not good.

Through decades I’ve written over 2,000 songs – 2,089 as of today, and when I started out, I thought that my songs were great. But after composing the first hundred, I threw all of them away but one or two, because they were bad songs. Then I began getting better.

HERE’S THE RULE: For every thousand great guitar players or great singers, or great drummers, there is maybe ONE good songwriter. Find him! Search him out , make his best songs yours, and get a career for yourself.

This does not mean a corporate moon/june hack. Find a songwriter who thinks like you, who writes songs like you were trying to do, and that has lyrics that you can put your heart into. Great songwriters write great songs; they don’t write trash that you will be embarrassed to perform. Find them and ask to hear everything they have got.

Right now the Big 3, the 3 companies that control music and determine if you have a career (spoiler alert – you don’t, none of us do), are against good songwriting. Just look at the top 100. So that means the great new songwriters are out there, waiting, and as hungry for a fair chance in music as you are. *

Some music execs advise you to write your own music and MAKE ALL THE MONEY! But they are wrong. HERE’S THE TRUTH; You will be spending all your money in studios, recording bad songs that will drain your bank account, loose the good will and interest of all the fellow musicians working with you, turn off your audience, and drag down what little career you have achieved.

But if instead, you record ONE great song by a talented songwriter, you will have a hit and a career that will follow you for the rest of your life!

But Tom, you say, the people LOVE my songs. OK then put that love to the test. Contact the people who LOVE your songs and tell them that you will give each of them 1% of ownership of your entire catalogue of songs for $10,000 dollars. See what happens. See who wants to invest in your songwriting! Put your songs to the real test and see how good they are.

Musicians, 99% of you that write songs – and more power to you – write as many as you like; BUT, keep them to yourselves, and stop
embarrassing yourself in public at least until you get a rare rare rare good one. OR

Record the best songs of those few songwriters who can write great songs. OR

Put your spin on great classic songs.

BTW if you are one of the .01% that are good at writings songs, you already know you have real talent, you probably have agreed with most of this post but know it doesn’t apply to you, and you are not one bit discouraged from what I say. Keep writing!

To all the rest: remember if you have one hit song, you have a career for life. If you never have a hit, you don’t have a career at all (with hardly any exceptions to the rule).

Good composers are rare. This essay is for current musicians and songwriters creating new music in all genres from country, blues, and rock, to pop, MOR, jazz, rap, and folk; but let’s take classical music for example. Why? Because everyone has heard of these composers.

Compare how many good orchestras there are in the world with how many good Bachs, Mozarts, and Beethoven’s there are!

Comments welcome, but beware – until you have put 5 decades into writing songs like I have, I may not give your ideas much credence!

*(Join the Music Revolution, end the Big 3 control of all music. and open it up to all, not just the 1% that make 70% of all the money.)

Tom Hendricks

Conceptual art on conceptual art

April 25, 2019

This is a conceptual art piece that challenges conceptual art pieces! There is a blank piece of paper and a poem underneath that reads:

Tom Friedman made an art piece
“1,000 Hours of Staring”
(at a piece of white paper
touched only by the artist’s gaze.)
I could do the same masterpiece
in 46 minutes and 13 seconds.
Can you tell the difference?

Goals of the Arts and Media Revolution

April 22, 2019

What is the arts and media revolution for? We work for these changes:

1. Fair guaranteed reviews to all.

2. Fair media coverage based on quality not promotion budgets.

3. Pennies for play – the author would get a penny for every click on say a chapter of his novel, or book anywhere it’s posted online.

4. The break up of those few companies that make the art, distribute the art, promote the art, and then review the art. They can do any one of those, but not all four! That is too much control in too few hands. The arts of a country cannot be owned by a few conglomerates.

5. City art centers, that are open to promoting all local authors (or artists of any kind.)

Tom Hendricks
Musea since 1992

Pennies for Play vs. Monthly Fee

April 22, 2019

Dear Reader,

Sooner or later a monthly fee for this and that is going to overwhelm the customers.

PENNIES FOR PLAY – part of the music revolution would allow the consumer to mix and match what HE/SHE wants to access – with a penny per play charged to them for every click on content, no matter what website the content is on (not only music, but blogs, videos, art, novels, films, plays, photos, school courses, etc.).

Which would you prefer? Stuck with one site’s limited content, or open to accessing every single thing on the net – AND the artist gets paid – AND there are few middlemen companies in the way.

Tom Hendricks
(Musea since 1992)

The Joni Mitchell Quote

April 6, 2019

Dear Reader,

This Joni Mitchell quote was sent to me by JHC. Mitchell is right and its worse than she thought because ‘they’ are only 3 CEOs, the Big 3 – google it for more.
That’s why the music revolution from Dallas against these 3, and for all the other musicians in the world.

Joni Mitchell:

“I heard someone from the music business saying they are no longer looking for talent, they want people with a certain look and a willingness to cooperate. I thought, that’s interesting, because I believe a total unwillingness to cooperate is what is necessary to be an artist – not for perverse reasons, but to protect your vision. The considerations of a corporation, especially now, have nothing to do with art or music. That’s why I spend my time now painting.”


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