Career Uncertainty

[Groovenstein]

I begin with a word of warning. Ladies and gents, you are about to get some serious insight into the person that is me. Bring an umbrella.

I am at a very serious crossroads regarding my future career. As many of you know, I am about to begin my last semester of law school. As many of you also know, I did my undergrad in music business, play the bass guitar and am finishing up an EP with my rock band. If you haven't guessed by now, I am in love with both.

I don't need to explain to anybody why this issue is so important, but I want to set the mood, so to speak, so I'll include some brief general commentary. This is my career I'm talking about here. This is what I'm going to spend most of my waking hours doing for what will hopefully be a very long time. If I have doubts about my work, long-term happiness will be a challenge, to put it mildly. I want to be a great man. I want to be a man worthy of a great woman's admiration. I want to be happy. I am happy right now. My concern lies with the next batch of years, during which I will be a player in that glorious drama your high school guidance counselor so apologetically called the "real world."

I love legal analysis. My work as a law student has sharpened my analytical abilities to levels that almost surprise me. I'm not saying I'm a great law student. Actually, I'm a little below average on the grade curve. What I am saying is that my mental organization and processing have skyrocketed across the board. I approach once seemingly menial tasks with a fervor similar to that in my approach to complex legal dilemmas.

Here's a fun example. Consider the act of leaving a phone message. My phone messages, almost without fail, have the following format: name-number-outline-content-(name)-number. Why put my number at the beginning and at the end? If people want to listen to your message only once, they can get your number at the end if they missed it at the beginning. If they miss your number entirely, it's right there are the beginning so they don't have to listen to the whole damn thing again. Why provide an outline? It makes your content easier to follow and to remember. And why do these things that make it easier on your listener? Presumably, you're leaving a message because you want them to hear and understand it, and the easier you make it for them, the more likely you are to accomplish that goal.

I love music. I enjoy many genres. My favorite works range from Mozart's "Die Zauberflote" to Bela Fleck's "Big Country." Of all genres, however, I'm particularly fond of rock and pop music. I listen to it like a producer, with an ear for every little detail I can pick up.

Right now I'm listening to Kelly Clarkson's "Behind These Hazel Eyes." The production is sensational. To give you some idea of what I'm talking about, here's a very short list of some of the cool stuff I've picked up in the tune: in the first half of the second verse when the bass comes in, there also comes in a little guitar part in the right side; on the and of four right before the chorus, there's a little upslide thing that repeats on the and of four of bars two and four of the chorus; vocal parts are doubled in octaves all over the place. Our engineer says Kelly, Avril, et al use double digit (as in ten or more) vocal tracks. He said some of them are really high in tone and are placed really low in the mix. I've picked up on these in a couple places and it's really damn cool.

I'm taking the same approach with the stuff we're doing right now. In one of our songs, we put a high harmony way back in the mix. We doubled almost every single one of our vocals, a couple of them in octaves. We put so much thought and effort into production. One of our songs has so many tracks (over sixty I think) and plug-ins that the computer in the tracking studio can't handle it.

I don't claim to be one of the Lord-Alge brothers. What I do claim to be is someone who has a hunk of untapped talent and is already doing an alright job considering I squeezed a bazillion hours of working on preproduction in between a bazillion hours of exercising my brain muscles on the "implied warranty of merchantability" machine. I have no doubt that if I did this full time, I could help churn out a CD more incredible than the one we have now, and one that rivaled what some of the greats put out. What we've accomplished on a such a tight budget is amazing. I get almost euphoric thinking about what we could do with a decent recording budget and some time focused only on music.

If I had to choose . . . . Okay, I don't care for sentences that start like that, but I thought about it, and maybe the answer tells me something. If I could either be a lawyer but never work on music, or work on music but never be a lawyer, the answer comes easy. It's music all the way, baby.

Here's the rub, though. I'm staring nearly six-figure debt in the face (almost entirely school loans), and I just don't know how I could pay that and all my other bills as a "starving artist." Yeah, I could be a musician and get a job, but my ability to show up somewhere day in and day out is suspect due to a physical ailment which is worsened by lack of sleep and for which I take daily doses of painkillers.

"Won't that affect your music, too?" you might ask. Well, I don't know for sure, but I'm inclined to think not. We've had some days at the recording studio for which I got up on an hour of sleep. On most days, this would really hurt, but on those days I was so charged to go in and work on the music that I didn't care. I don't remember ever having been so excited to get up and learn about the Jerry Tarkanian case.

I'd appreciate some thoughts from anyone, but particularly from those of you who have had similar career schizophrenia.

[dondigitalia]

You really are in a predicament, and while having such high values is admirable, I can't say that I envy having to make such a choice one bit.

The first thing that comes to mind is, what about integrating the two? You could certainly do legal work for record labels, artists and such, but that might not be enough to satisfy your desire to make music. Although, it would be a great way to make contacts in the industry in case you decided to become a full-time musician later, after your loans are paid off.

You're probably right in that it's very unlikely you will make enough money to pay off your loans and support yourself as a full-time musician.

Another big consideration is the kind of hours lawyers have to work. Now, I've never known a lawyer on a personal level, but as I understand it, they work some really long, grueling hours. If you choose to be a lawyer, how much time will honestly be left over to make music? Were you even planning on being a lawyer, or some other career in the field?

Which aspects of making music is it that you like, and which aspects of legal analysis? Even if you can't combine the two completely, can you at least combine the aspects you like the most? For example, if it's the analysis part of legal analysis that you love the most, and the production part of music, how can you combine the two? Being a producer requires quite a bit of analysis in itself, so with that combo of values, it might work. If the things you value most are different (as they likely are, considering the immensity of both fields), you might find some different way to integrate them.

[Lemuel]

Groovenstein, why not start a record label?

You'd have your own label to release your own material, the resources (in time) to represent other artists, and the legal know-how to generate fair and profitable contracts with new talent. You could use your band to promote your label while you tour, then use your label to attract other clients. Once the label gets to the point where you can delegate some responsibility, you can continue with your band (or, using the pool of musicians available, compose and record new music). One supports the other, and both require your two greatest loves, yet they're not so disparate that you have to let one thing atrophy to achieve the other.

Start-up is expensive, and if you're willing to find a venture-capitalist benefactor, trust me: they're out there. If you could tolerate a little brain-storm, consider this ...

A typical scenario is that a young producer or singer has some talent and wants to make it big. Their friends and family think he's got "the gift", and praise him constantly. One way or another, they come to the attention of someone willing to invest some money in them. Negotiations occur, and a check is written. Six months and several thousands of dollars later, the young artist has changed their mind, having not seen instant success, and being told by professionals that they need more talent development. The investor does the tax write-off shrug, and life goes on. I personally have seen this happen at least a dozen times - with female country singers, hip-hop producers, pop singers, rock bands. It's almost a cliche: some rich dude loses a few thousand on "I guaruntee she's the next Britney!" ...

Think about how attractive it would be to an investor to take something other than a homemade CD to the interview, though - your education. You're a lawyer, you actually could run a label and really make it successful. Furthermore, you have the band that can promote the label on the road. While on the road, you can dig up clients. Then it's a real investment for your benefactor, a real chance for him to profit. Your training and current resources show you to be a capable person, and it's less of a risk for the venture capitalist.

[JMeganSnow]

Here's the rub, though. I'm staring nearly six-figure debt in the face (almost entirely school loans), and I just don't know how I could pay that and all my other bills as a "starving artist." Yeah, I could be a musician and get a job, but my ability to show up somewhere day in and day out is suspect due to a physical ailment which is worsened by lack of sleep and for which I take daily doses of painkillers.

I'm not trying to indicate that you haven't consulted a doctor, but there are often options other than living with pain and taking ever-increasing doses of medication. You're young enough that I suspect (without knowing anything) that you likely have a joint injury of some kind, which means you might be able to get surgery.

Okay, enough of that. Money is not as much of a problem as you might think, and lawyers aren't guaranteed riches, either. Unless you graduate at the top of your class you might even find it difficult to get into a firm. It is MUCH MUCH easier to get rich if you love what you do.

I'm reading a book by Dr. Thomas J. Stanley called The Millionaire Mind, you might benefit from some of the stories and findings in it. Strangely, I've found that most of the stuff in here I already had figured out for myself from plain observation. Scary.

If you want to meet someone with career schizophrenia, I'm your woman. I'm about to start a new position at the tissue bank I work for. What will I be doing? Cutting bones and tendons into pieces. Oh what fun.

*chuckle* actually, it won't bother me, I have a production-oriented mind and I'm very methodical (when I'm paying attention, which is my only problem in this regard). I'm largely doing it in the hopes that I can go into management, because all the management positions require processing experience.

But the real question is, what's my ultimate career goal, here?

Writing. I don't care that currently my fiction and nonfiction both are less than stellar. It's the only thing I really enjoy and do all the time regardless. So, writing it is.

I'm just taking this . . . peculiar path that way because I've discovered that college isn't particularly useful for me.

[Groovenstein]

As I said on the other forum, I'm awed by all the thoughtful responses. I'm transcribing a Prodos show on love and romance right now, but I will try to get to some responses tonight. I will briefly address something that is very easy to address.

I'm not trying to indicate that you haven't consulted a doctor, but there are often options other than living with pain and taking ever-increasing doses of medication. You're young enough that I suspect (without knowing anything) that you likely have a joint injury of some kind, which means you might be able to get surgery.

A joint injury might be better, because I could probably get that fixed. A rheumatologist said all my tests are clean so I probably have "fibromyalgia." My options, considering my current income, are walking, which my roommate and I are soon going to do together, and trying to eat halfway decent. When I start to make some money I'm going to invest in a hot tub.

[Groovenstein]

Groovenstein, why not start a record label? . . . Start-up is expensive, and if you're willing to find a venture-capitalist benefactor, trust me: they're out there. If you could tolerate a little brain-storm, consider this ...

Synth, you make some great points here. Another interesting thing I thought of is that being "signed," though it was to my own label, might add a certain degree of reputability to the band itself, hopefully making it easier to get airplay, find a real label to pick us up, etc.

I'm a little surprised to hear you say that it's so easy to get start-up cash. You said you had personally seen this happen several times. Can you elaborate on that at all? Why do you think it's so easy?

[JMeganSnow]

I looked around online and found this useful Mayo Clinic article on fibromyalgia.

There are a surprising (or not-so-surprising) number of what may be quack therapies out there.

[scottkursk]

When it comes to law, my wife does have a good point in that the average length of employment as a lawyer is around 5 years. Burn out is pretty bad and given the 100k+ that most lawyers own, that leaves them pretty tight. The hours when you start are generally VERY long. Just like any high paying job (stockbroker, public accountant) your first few years are pretty bad. It took me 3 years before I stopped working 50-60 hour weeks. But the payoff can be worth it if you either love what you do or it is helping you further your passion. I really love being a broker so I don't mind the hours though after 11 years, it is starting to get old.

If you take a job with a large firm, you will be expected to bill insane hours. That is if you expect to be on the partner track. If you take a job with a smaller or botique firm, or with the government, your hours are long but still much less. The small firm approach would allow you time, whereas the large firm allows you money. Don't forget, most people with JD's still don't make over 50k a year. That varies of course given the amount of time you put in and the crap you are willing to put up with.

Either way, I wish you the best of premises.

Edited January 1, 2006 by scottkursk

[dondigitalia]

Synth, you make some great points here. Another interesting thing I thought of is that being "signed," though it was to my own label, might add a certain degree of reputability to the band itself, hopefully making it easier to get airplay, find a real label to pick us up, etc.

You know, about an hour after I posted, I had the same thought as synth.

I'm a little surprised to hear you say that it's so easy to get start-up cash. You said you had personally seen this happen several times. Can you elaborate on that at all? Why do you think it's so easy?

My best friend owns a record label. It really isn't that difficult at all to start up, and you don't need that much money if you do it right. The route she and her partners went is that they have a parent label (I'd have to ask again who the parent label is) who covers production and distribution costs and takes a cut of the profits. Her group is responsible for paying the artists. Her label doesn't make very much money, but it specializes in very obscure, narrowly marketed music, so you might be able to make some decent money going the parent label route if that interests you.

[Lemuel]

I'm a little surprised to hear you say that it's so easy to get start-up cash. You said you had personally seen this happen several times. Can you elaborate on that at all? Why do you think it's so easy?

First, let me agree with dondigitalia's response to these questions.

Second, forgive the long post, but I have no one else to talk about this stuff with.

Third, I have indeed seen this occur several times. (I could give you stories, but this post is long enough!)

I know that successful artist investments are made when the risk/reward is clear. The investor knows who the beneficiary really is (character), what they're bringing to the table (product), that the beneficiary has a solid plan devoid of unknown variables (ambition, ability), and [very importantly] how much it will cost and how soon they can see their investment return.

What they don't want is "ifs", nor do they care about your dreams or your potential. What they care about is the actual, that someone has a promising proposal and plan for a successful venture, and the only thing standing in their way is startup capital. In a word, they want numbers. Numbers tell them everything they need to know, and anything else is a distraction.

If I were still in a band, I'd be taking my own advice here, but if I could share some random things I've learned from the artists I deal with all the time ... and some speculation:

1. Shameless self-promotion: The first thing anyone needs to know about you is that you're a talented and energetic musician with the ability and ambition to succeed. They must always identify you with that role, so that's how you introduce yourself, what you talk about, and what gets you excited in their presence. Nothing more: to them, you're the confident rock star who will get his big break.

2. Never be without your material: Given the ease of electronic press kits, there's no reason why you shouldn't have a thousand CDROMS with recorded music, live video from shows, photos, bios (all viewable from a bonehead-simple interface) at your immediate disposal. A portable webpage, basically. You need to be Batman with these e-presskits, producing them from thin air if people seem interested. (Don't just write your website down for them; they'll lose interest before they get to the computer. A CDROM gets placed on the computer desk, and eventually gets viewed. The first 30 seconds is your target window of opportunity; that gets you another 5 minutes.)

3. Book gigs in places with regular crowds. To a transient tourist crowd, you're just part of their vacation, as quickly forgotten as the hotel's cable channels. But if you're playing the club closest to, say a hospital or office complex, odds are you're getting a very regular crowd. They're your fan base, and will be part of your show should you ever get a talent scout at your gig. Colleges are okay gigs, but you're not going to meet a potential investor at a frat house.

4. Read the newspaper. Any building projects - housing developments, strip malls, new restaurants - have tons of money behind them, and many times they're just small development companies. The financiers are always in the papers: research these people, and develop a strategy for approaching them with your proposal.

5. Network in clubs. Know the club owners, the bartenders, the barmaids, the bouncers. Know their birthdays and how many kids they have. Develop them as assets - and genuinely treat them well - and they will be a great help to you.

6. Other networking: Local record shops, local music stores, local recording studios. All owned by people who put up their own cash every day to keep their business running. If they aren't interested in taking a financial chance on you, they may run in circles with people who are.

7. Always perform as if Rick Ruben, David Geffen were in the front row. Mistakes should be as intolerable as a lazy performance.

8. Always have a Plan B. If some unknown variable (car crash, drummer has an emotional breakdown and "can't go on", etc.) sabotages your business venture, have a way to work off the debt handy. It's a last-case scenario, but have it in your back pocket, and let your investor know this up front. "In case it doesn't work out - of course, it will - but if not, I'm prepared to do A, B, and C to satisfy your risk." Leave it at that, no more. (This is where your legal training would come in, I think; I imagine that someone with those skills will be valuable, perhaps even to the investor himself.)

9. Get a great insurance policy on all your gear. How many bands are sideswiped when their entire trailer is ganked while they're enjoying a night off at the movies? Too many. You should have a policy where you could walk into a Guitar Center the day after a theft and replace your gear; they are available.

10. Rejection will happen. All it means is that investor isn't the one for you. You want someone to be excited about what you're doing, knowledgable about the business you're in, and someone with some good business sense. The right benefactor will want to protect his investment by helping you in any way; bands (and especially labels) succeed and fail largely on their business sense.

11. If you're bad with names or faces, fix it ... immediately. That's a liability in any industry or endeavor. People may not expect that sort of thing out of rock stars, though. It might surprise them, and you'll earn a few more megabytes of their mental RAM.