Say no. If you can’t say no you’re never going to have credibility.

You’re selling more than music, you’re selling your identity. I’m not saying you have to be all over social media, I’m just saying your identity should be baked-in to your music. This is why hip-hop eclipsed hair bands. The hair bands were wearing spandex, unlike the rock bands of the seventies, who wore street clothes, and they were writing ballads to appeal to people who otherwise wouldn’t like them. And when the tide turned, the hair bands became laughable. You cannot regain credibility, it doesn’t work that way. Meanwhile, hip-hop was all about truth. Living the life. Having an identity. And the public resonated with that.

Your career is your responsibility. If you’re looking for people to help you, to shoulder the weight, you’ve got it wrong. Today you are responsible for your own career. This is something that social media influencers have right that musicians refuse to accept. Yes, pre-internet, when distribution was closed to most, when radio and music television ruled, the major label had power and you could utilize this power to your advantage. But that game is on life support.

No one will work unless pressed. Don’t tell the label, anybody who is ultimately working for you, and a label works for you, what you’re doing, become friends, contact them on a regular basis, and get them to do work for you that you can’t do yourself. Yes, you’re willing to help out the label, et al. But my point here is these people are overwhelmed, and if you tell them you’re going to do the heavy lifting, you’re letting them off the hook. It’s a partnership, and your partners have to pull their weight. They love nothing more than to be let off the hook.

Live, live, live. The era of sitting at home in your bedroom and creating a hit are done. Even if you have that hit, odds are you’ll never have another one. You’ve got no real fans, no one to support you. Be ready to go on the road if you get any streaming action.

Ignore Spotify counts. The best thing in life is that Spotify and YouTube are free. You can get your music heard if someone chooses to listen to it. It’s available to all. And this is very different from the way it was in the pre-internet era. The key is to have fans who go to Spotify, et al, to hear your music. As far as people discovering your music on streaming outlets… It’s nice when it happens, but that’s not the way it usually happens. As for the vaunted playlists… Those are listened to by the most passive of listeners. You want active fans. And active fans search and play exactly what they want to. Streaming is the sideshow. Correlate concert grosses with streams, oftentimes they’re upside down, incredible dollars in the venue, anemic streams. People are fans of the live experience. And their fan bases are narrow. The billion stream club is populated by those who appeal to the broadest audience, oftentimes sacrificing credibility in the process.

Money comes last. You’re a tech startup. Grow the audience, there are plenty of ways to monetize thereafter.

TikTok is a fool’s errand. No one has figured out how to game the system. Furthermore, usually only a snippet is employed by TikTokkers anyway. And a lot of people who get traction with their music on TikTok…are homemade artists creating music just for this purpose. The retrograde labels are signing these people, believing they’ve got an audience, which will scarf up their albums, but in truth that is wrong. People only want the snippet. Yes, you can go viral via TikTok, but it’s serendipitous.

Just because it happened once doesn’t mean it will happen again. Fleetwood Mac got a bounce from that skateboarding worker, Lil Nas X blew up after TikTok, but that’s like Radiohead’s “In Rainbows,” one and done. When it involves tech, it’s a fad. Focus on the music.

It happens later than ever before. If you’ve got a Plan B, take it. To make it in music requires all of your time and effort. And you still may not make it. But that does not mean you should labor in obscurity forever.

Be wary of focusing on albums. The Stones? All that hype over “Hackney Diamonds”? The album is already in the rearview mirror. People are focused on the now, it’s the only way they can cope. What happened yesterday is forgotten. Embrace this paradigm. Think of creating ’round the year, keeping your fans satiated and giving you hope that you’ll get lucky with a track down the road.

You know as much as those working at the label, if not more. This is why the labels have not broken a new act in a year. And the landscape has changed, there’s no universality. Everybody is listening to different stuff. And the majors don’t like this, they are built for mass, and they keep employing old school systems thinking they’ll work today. Sure, terrestrial radio reaches more people than any other medium. It’s just that it’s fewer than ever before and its listeners are the least active. Terrestrial radio is like network TV, it’s a business, but a small fraction of what it once was.

Innovators succeed. Both in music and business. The majors are supported by their catalogs, sans them they’d be screwed. Don’t let someone tell you how to do it, do it the way you want to. That does not mean you shouldn’t respond to audience feedback. You play a song live and you know whether it works or not. In other words, if you’re progressing, having success, stick to your guns. If you’re not, then you need to change. Or give up. You can wait forever and nothing can happen, no matter how much you like what you’re doing, how much your friends and family like what you’re doing. As for professional feedback…people will rarely tell you honestly what they think. They’re afraid of pissing you off. So, if you adjust to what everybody says, you’re screwed. Having said that, if you’re going to ask for professional feedback, accept it, don’t tell the pro why they’re wrong.

Talk to people in the business. They’ll tell you they’ve never gotten an unsolicited tape from an act that they’ve ended up signing. So don’t bother to dun people, it’s useless. Focus on satiating your audience, and if you make enough noise people will come check you out, but they still may not be interested.

It’s the music business, emphasis on business. The only thing people are interested in is whether you can make them money. Everybody…agents, managers, promoters, labels. If you can make them money, they’re interested. If not…they’re not running a museum.

Hits often can’t be quantified. It’s not how many streams a song has, but what it means to the audience. If it means enough, these listeners will tell others.

Virality. It’s key, it’s king. But don’t think of it solely in terms of social media, think about it in everything you do. Did someone tell someone else to listen to your song? Did someone tell someone else to come to your show?

Mobilize your fans. They’re your street team, even though they do most of their work online. They love working for you. Find out who wants to participate and give them something to do. Your army spreads the word, better than any other medium.

Print publicity only means something if you’re appealing to people who still read newspapers and magazines. And most active young listeners do not read, do not pay attention to those outlets. So the story is worthless. And no story reaches everybody, in fact, stories reach fewer people than ever before. I’m not saying print will hurt, I’m just saying it’s oftentimes a wasted effort.

No one knows how online word of mouth, i.e. virality, works. The key is to be in the marketplace, otherwise you can’t get lucky. You’ve got to play to win. And everything starts online, and not on the big music streamers. You keep playing, trying to get lucky.

Your big break is never your big break, ask anybody who’s ever had one. Your big break is always the afterthought, the thing you did reluctantly, or that you thought was minor.

There is no one breakthrough moment, it’s a slew of breakthroughs. And when you get to the end, you will not be on top of the world, no one is. Be satisfied anybody is listening at all.

Netflix trailer: https://tinyurl.com/4xf6j6ae

It’s a modern-day “Sopranos.”

For those playing the home game, you know I’ve written rapturously about the three seasons of the Belgian-Dutch production “Undercover,” about the travails of Ferry Bouman, and law enforcement’s effort to nail him.

Bouman is an antihero, just like Tony Soprano. Someone who can kill on a whim, yet be warm and affectionate moments thereafter.

However, Tony Soprano comes from a long line of Mafiosi, whereas Ferry Bouman is a self-starter, making it up as he goes. Starting with nothing, and climbing his way up the ladder on his wits.

What I like most about Ferry is his ability to stand up to people. We live in a nation, a world, of suck-ups. I just read a review of the new Ray Dalio biography, wherein they eviscerate the self-made myth of this hedge fund titan. They say Dalio is an untalented bully who made his way up the ladder by kissing butt. And to survive in his organization, you have to do the same.

And that’s what we’re taught in America, for all the veneration of the self-starting entrepreneurs, in truth we’re told over and over again to be a member of the group, not to raise our head, not to say something unpopular, to get along. We’re told that’s where the rewards are. And you might make a living being a cog in the system, but that’s not where the fun is.

Which is kind of the story of the British Invasion bands. They were doing it on a lark, they didn’t expect to get rich, they were just forestalling a job in the factory.

As for the Silicon Valley titans… Let’s be real, these are the people who dropped out of Ivy League institutions. They were the best and the brightest, and were always told so. That’s what I’ve always loved about the music business, it was loose nuts and bolts who didn’t fit in anywhere else, people who couldn’t work for anybody else, who did it their way. And although we still see this in the ranks of managers, corporate ownership has eviscerated that ethos. Lucian Grainge? Rob Stringer? Even Rob Light? They’re working for the man, they’ve got no skin in the game. When it’s your money, you play differently. That’s the story of great entrepreneurs like Ahmet Ertegun, Chris Blackwell and Jerry Moss, never mind Jac Holzman. They made it up as they went along. And one thing they all exuded was self-confidence. They didn’t care how anybody else did it, they hewed to the beat of their own drummer, they did it their way.

Like Ferry Bouman.

Now after the three seasons of “Undercover,” there was a prequel movie. And now there’s a prequel series. It’s eight episodes. Not a huge commitment. And the first is set-up, it’s so-so, not that gripping, and then…

There are two episodes that are so intense, they have you sitting on the edge of your seat, wanting to know what happens while simultaneously wishing you could shut the TV off, not being able to handle the anxiety. This is great television, the last time I’ve seen episodes this intense was in “The Bureau,” the French TV show, which you’ve got to pay extra for, subscribing to AMC+ or Sundance Now. Meanwhile, is there anybody without a subscription to Netflix?

So Ferry deals Ecstasy. And he’s up against the titans. And you know that the government is now sophisticated, which makes it difficult to get the precursor ingredients. And the kingpin has got the market locked up and…

That’s my favorite part of the series. When Ferry is caught red-handed, by those well-financed and with a bigger footprint.

Most people would wimp out at that point. Beg for mercy. But Ferry bites back, owns his position, pushes his vision down the throat of the superior. He’s got balls. All men have balls, but they’re afraid to whip them out, to show them. But real men do.

Ferry Bouman is a real man.

Business is dark and dirty, rules are bent and intimidation is rampant. And it’s not only in illegal businesses. If you read the business news you know the most respected corporations are crossing the line constantly. It’s a dirty game. And you’re told you can’t compete.

But Ferry does.

Without a net.

Now in truth, those of Ferry’s stripe don’t always win, the chutzpah falls flat, they get snuffed out. But they’re not going to let the world get one over on them. They’re grabbing life by the horns, and it’s inspirational.

There are the dumb criminals working for Ferry. It’s hard to get the best and the brightest in crime. And it’s these dummies that oftentimes get you in trouble. But Ferry is the overlord, he keeps it all going, keeps his compatriots in check. He’s like a coach, but sans the guaranteed salary of these college men paid millions in supposed educational systems. You know the world is messed up when a university football coach makes seven million dollars a year.

Most of us will never have that opportunity, but we can make our own opportunities.

And is morality everything? If so, Ferry’s in trouble. But Ferry is loyal. Never forget, when it comes to criminal enterprises, loyalty is everything. Scratch that, loyalty is everything in life. Except maybe for artists. What did Bob Dylan say, to live outside the law you must be honest? That used to be the credo of the artist, but today the artists are sold-out whores who think that money and publicity are everything. But it’s never the gross, it’s the work. And if you do it right, there’s plenty of money.

Now you can watch “Ferry” in English, but I wouldn’t recommend it. Best to watch it in Dutch with English subtitles.

And because of this, because it is a foreign language program, most people will say no-go, as they consume the week by week dross of HBO and Apple. Man, you’ve got to marinate in a series, you’ve got to be captured by it. Its all about mood, an alternative universe, you can’t sustain that feeling week by week.

But the bean counters think that’s best. I could argue with that, but they can’t handle the truth.

It’s all about the binge.

And you should binge “Ferry: The Series.”

This is what movies used to present, but in a longer form, deeper in character, in story, you truly get to know the players, you’re involved, attached. This is the golden era of TV. Zaslav scratched foreign production. Netflix was affected less by the strikes because it’s producing shows all over the globe.

And it’s these shows that have me keeping up my subscription. It’s rare that an American show hooks me. Because American shows are made with the audience in mind, they play outward instead of inward. Ferry has no illusions he’s a matinee idol. He’s a regular guy, starting from the same line as you and me. He’s making it up as he goes. He knows what he wants and he’s doing his best to get it. He’d be a role model.

If he wasn’t a criminal.

Tune in Saturday November 11th to Faction Talk, channel 103, at 4 PM East, 1 PM West.

Phone #: 844-686-5863

Twitter: @lefsetz

If you miss the episode, you can hear it on demand on the SiriusXM app. Search: Lefsetz

“Pink Floyd’s Roger Waters says Hamas massacre ‘thrown out of all proportion’”

That’s from the “Telegraph,” behind a paywall, but you can read the story in the “Jerusalem Post” here: https://tinyurl.com/yvwej9nw or if you need an American source, check out the story and watch the video on “Breitbart” here: https://tinyurl.com/ynccs5rr

As far as left wing publications, as far as music publications, the NME covered the story, but if you are aware of it, I’m surprised. Then again, if you’re a progressive you might be wary of appearing to support Israel.

Let’s see, Roger Waters thinks 10/7 was a “false flag operation.” And “how the hell did the Israelis not know this was going to happen?” he said. “’there’s something very fishy about that.'”

But Roger Waters is not antisemitic. No way.

Yeah right, when accused, he’s doubling down. It’s almost like Donald Trump, when attacked they don’t examine the accusation, they just fight back with more strength.

But the real criminal is Morgan Wallen.

I was truly offended by Wallen’s use of the “N-word.” However, when you watch the video… He was drunk and saying goodbye to his friend using language he has heard again and again on hip-hop records. Does that make it right? Of course not. It demonstrates ignorance. But how long are we going to keep this guy in jail, are we ever going to forgive him?

Morgan Wallen has the biggest album of the year, by far. A double album, it has sat in the Top Ten for a year. But you can’t earn a Grammy for that, no way. His song “Last Night” was nominated, but he wasn’t one of the writers of it, so Wallen is shut out.

Now if Wallen was included would Blacks protest?

Maybe. There could be quite a kerfuffle. But maybe we could have a discussion about forgiveness.

If you go to jail for shooting someone, you come out and are forgiven. Seems like it’s a revolving door, there are many performers who get incarcerated, it’s almost a badge of honor. But some dumb bloke from the sticks says something, just utters a word, and he’s a pariah for all time.

And unlike Waters, Wallen has apologized. Bent over backward to atone. But it’s just not good enough. The holier-than-thou country music haters won’t let him off the hook, there’s no coming back. One and done, that’s what it’s like in music, in the arts. Huh?

Not that Morgan Wallen cares, not that his audience cares. It’s not affecting his business whatsoever. Wallen plays stadiums. He’s rolling in dough. He doesn’t need some phony, trumped-up award to make himself feel good. That’s just for those with little commercial success, to put on their resumes, so they can book gigs in the future. If you’re a star, you don’t need no stinking Grammy.

Kind of like Barbra Streisand. Did you listen to any of her interview with Howard Stern? I’m only an hour in myself. But one thing is for sure, she’s f’ing nuts. But in truth they all are. Get to meet your heroes, most are one dimensional, narcissistic, in many ways out of touch. And their focused drive has allowed them to make it, but if you think you can be friends with them, want to be friends with them, if you put them on a pedestal, you’re just plain wrong. Howard brings up Streisand’s Oscars, as if they should make her feel good for all time. The truth is, you win an award and the hit of adrenaline, the self-satisfaction, the wonder, usually lasts about 24 hours, then it’s back to your regular life, to the grind. It’s only those who don’t win awards who think they make a difference. Now more than ever, when there are endless verticals, endless niches.

Yes, you could look at the endless Grammy categories and think either you’re completely out of touch or the nominations represent only a small slice of the music universe. Chances are your favorite act is not included.

Yet people rail on about the Grammys because… In today’s world we are looking for points of connection, things we are all aware of, that we have an opinion on, that we can argue over. Yes, I’ll posit the Grammys, the organization and the show, is more important than the awards themselves. There aren’t enough women, there aren’t enough Blacks, there aren’t enough pygmies, it’s fixed by the labels… That you can argue about, but the individual categories? Who cares!

But to leave Morgan Wallen out…

I’m trying to think of the equivalent. Maybe excluding the best team from the Super Bowl. Or handing the Presidency to the runner-up.

Imagine if either of these scenarios occurred. People would be up in arms, they’d go insane! But Morgan Wallen is excluded from the Grammys and most shrug their shoulders. However, Wallen’s fans, those in Nashville, they feel the snub. They get it, you’re better than them, they’re just crackers, they’ve got to learn their lesson.

But the bottom line is Morgan Wallen made the most listenable mainstream album of the past year. That doesn’t seem to account for anything anymore. Better to laud the critics’ darling Jon Batiste. Who the hell do you expect to pay attention, other than the labels and those who hope to profit off the nominations and awards, even though the Grammy bounce, in any significant way, is a relic of the past.

But this zero tolerance policy…even in the arts? I mean who else should we exclude?

Well, definitely Picasso. I’m surprised he isn’t canceled yet. I expect protests, insisting his paintings be removed from museums. I mean this guy didn’t even apologize.

And how about all those rockers who raped and pillaged in the seventies. Better not play their music.

The bottom line is most Trumpers are not that different from most fans of Biden. There are a few significant points of contention, and on the rest they agree. But you’ve got to decide which side you are on, and if you’re on the other team you’re a pariah.

And how many times do you have to pay for your offense? Does this mean Morgan Wallen can never be nominated for an award ever again? He was excluded for “Dangerous,” now for “One Thing at a Time,” what’s a poor boy to do? Play in a rock and roll band?

I was talking to a venerated artist yesterday, and I asked her about some of her career choices, and she said she was a rebel, through and through, forever, even though she’s an aged baby boomer. She doesn’t want to be controlled, she doesn’t want to be told what to do. She doesn’t want to suck up to anybody.

But that’s what the Grammys are, a giant suck-up.

Art can bring people together. Believe me, it’s not only southern rednecks listening to Morgan Wallen, even a Black NFL player plays Wallen to inspire his team.

Yet the fat cats in the Grammys, they know better.

But they don’t.