Funny Songs: How to Use Humor to Connect w/ Fans

Do you write funny original songs? Have you ever done a song parody that went over well? Or do your live shows have some element of humor that gets your audience laughing?

If so, you may be sitting on a powerful way to connect with more fans!

I've often said, the best way to grow an audience is to produce music that creates some sort of physical and/or emotional reaction in people.

If your music inspires listeners to laugh or cry or relax or feel aroused or want to get up and dance ... your promotion efforts will be a lot more fruitful.

When your music or message gets people to FEEL something, they will have a much deeper connection with you -- and it will greatly increase the odds that they will share your music with other people ... because they were so touched by how you made them feel.

But there's something about laughter, in particular, that I find especially infectious. There's a lot of research on the positive effects and even health benefits of laughter.

A good laugh relaxes the body, boosts the immune system, triggers the release of endorphins, and protects the heart. What a great gift to give to someone!

I just posted a video of a funny original song I wrote called "Thankful." It's a little grainy and the sound quality isn't stellar, but I think the reactions from the live audience make up for it.

(Note: Hang in there until about the 2 minute mark, when the funniest parts start coming.)



So ... do you have any funny songs or humorous observations to share with your fans?

If so, record an audio or video of it and post it online. And make it easy for people to share it with others.

Go forth and spread a little laughter today!

-Bob

P.S. What are your thoughts on the power of humor to attract an audience and connect with fans? I welcome your comments below.

The photo above is by Martin Kimeldorf on Flickr.

Shift Happens: A Story of Frustration & Opportunity

Here's a quick story about change that might surprise you ...

Leo and Harry knew firsthand that new technology has the power it turn the status quo on its head.

They were part of an economic boom in the music industry that allowed songs to spread faster and more efficiently to more people than ever before.

The movement they were part of had the additional effect of encouraging amateur musicians to participate in music in ways they had never been able to before. The wave Leo and Harry helped create affected the entire music industry.

However, within a short period of time, an even newer technology came along that disrupted everything. The stable business model these two men built and profited from began to crumble.

But an unexpected benefit came from the new developments. A number of artists and bands that previously operated in obscurity were suddenly becoming popular on a nationwide and sometimes worldwide scale.

Sound familiar?

This story is about Leo Feist and Harry Von Tilzer, two men who were influential in the sheet music business a hundred years ago.

The promotion and widespread sales of printed sheet music spawned a whole new industry in the late 1800s. It was a very profitable business model for many companies, as more and more music hobbyists yearned to play popular songs of the day.

Back then a lot of musicians were gainfully employed as "song pluggers" who made their living demonstrating songs to promote the sale of sheet music. Most music stores had song pluggers on staff. Other pluggers were employed by the sheet music publishers to travel and familiarize the public with their new offerings.

Then, in the early 1900s, the phonograph and radio came along to change everything. Eventually, many people once employed by sheet music companies or as song pluggers found themselves out of a job. At the same time, new opportunities opened up for forward thinking entrepreneurs who embraced the new technologies of radio broadcasting and recorded music.

What's the point of this story?

To illustrate that shift happens, and at times the change can be monumental. Humans went through the shift when the era of sheet music boomed, and they went through it again with the advent of radio and records.

And ... we're going through it again now.

After I published The Surprising Truth About Making a Living with Music in 2011 & Beyond, a number of musicians cried foul and said I was full of it. They cited many examples regarding ways they used to make money that aren't available to them anymore. So how could I possibly make the claim that there are more opportunities now than before?

So let me clarify ...

I don't deny that many income-producing aspects of the music business have changed. A lot of great players who once worked as touring musicians or had steady club gigs are hurting now. Good people are experiencing some very real pain and frustration over how they once operated in the music world.

I get that. And if that's your reality, my heart goes out to you.

At the same time, though, other musicians are prospering. It may be hard to see and admit that when you're in the midst of struggling to feed your family and getting caught up on bills. But there really are smart artists riding the new wave and doing well.

It's all part of the latest shift in the way that music is created, spread, and enjoyed.

It happened in the 1800s. It happened a hundred years ago. And it's happening again in a big way right now.

My goal in pointing this out to you: To get you to open your mind and embrace the shift instead of fighting it. To encourage you to look for creative solutions instead of being angry. To inspire you to look for new ways to express your passion, make a few dollars from it, and enjoy the process.

Change isn't easy. But the quicker you acknowledge it and accept it, the quicker you'll be able to move on and prosper once again.

-Bob

P.S. Get more tips like these when you subscribe to my free Buzz Factor ezine -- the longest running music career tips email newsletter on the planet. Since 1995. Go grab your free subscription now here.

The Surprising Truth About Making a Living with Music in 2011 & Beyond

Warning: The following rant will ruffle some feathers and just might upset your comfort zone. Read with caution!

John McCrea, lead singer of the band Cake, stirred up a reaction when he told NPR's Melissa Block that he is skeptical about the future of music as a vocation.

"I see music as a really great hobby for most people in five or 10 years," he remarked.

Keep in mind this was part of a segment about Cake's historic new album, which debuted at No. 1 on the Billboard charts in January. It was historic because the album earned the coveted ranking by selling just 44,000 copies — the lowest amount for a No. 1 in the 20-year history of calculating record sales.

I've been seeing a lot of articles and blog posts lately about the doom and gloom of the music biz — including depressing news about the state of independent music. There have been references to the failure of direct-to-fan as a business model, and the harsh realities that aspiring musicians, managers, and promoters face.

Really? Give me a break!

Sure, I agree that things have drastically changed. The "traditional music industry" has crumbled. All the new, accessible promotion tools have created a crowded and noisy world where millions of DIY artists are clamoring for attention. Things are in flux. Nothing is predictable. There's no sure path to success.

So tell me ...

How is this so radically different from the good old days?

When exactly was there a sure path to making a good living as an artist? What year or decade did a healthy percentage of musicians prosper in the Golden Age of Music? And in what era was the pursuit of the almighty record deal an accessible and fair arrangement for all concerned?

Wake up and smell the gigabytes! Please!

The truth is ... This Golden Age never existed. There's never been a time when musical self-sufficiency was guaranteed. It's always been the case — and always will be — that a majority of people pursue music as a part-time hobby.

Only a small percentage of artists make a living. That isn't a consequence of the Internet or piracy or consumer apathy or limitless entertainment choices. It's just the nature of humanity, regardless what business model is in place.

If you find yourself complaining about the current state of music, it's probably because you feel lost not knowing what direction to go or what "rules" to follow. I get that. At least — prior to the Napster and iTunes era — many people agreed on the steps you needed to take: get a record deal and/or get radio airplay, retail placement, media exposure, tour, build a business team, etc.

Now it seems nobody knows what the sure path is. As flawed as the old system was, at least you had some kind of map, right?

Here's another cold dose of reality ... That system sucked just as much as, if not more than, the current one!

Many musicians struggled then ... and they struggle now. Artists fought for attention then ... and they fight for it now. Self-promoters were confused about marketing and sales then ... and they are just as confused now.

And, back in "the day," there was never a set path to a record deal either. Nearly 20 years ago I organized a lot of music education events in St. Louis with local artists who had been signed to label deals. Each had to forge their own path to get noticed and get signed. No two stories were alike.

However, the one theme that many of them shared years later was the bitterness they felt after having gone through the corporate record company process. Hmm ... I guess that wasn't the Golden Age after all.

Honestly ... Do you really prefer the old system of having to impress a gatekeeper before you are deemed worthy of a music career? Do you prefer the stability of needing commercial radio airplay, retail space, and MTV video exposure to "make it"?

I think not! So ...

Please stop lamenting the good ole bygone days (that never existed to begin with). Please stop complaining about the hardships of social networking and all the work required to get noticed and engage with fans. Cry me a river!

Success in music has always required talent, desire, a quest for mastery, and consistent action. That was true years ago, and it's just as true today.

The modern-day whiners all focus on what's missing and what's difficult. Meanwhile, empowered indie artists such as Jason Parker, David Nevue, Rob Michael, John Taglieri, and many more see opportunities, embrace this new era and ... heaven forbid ... are actually making a decent living doing it.

So ... are you a victimized complainer ... or an empowered doer?

More on this topic coming soon ... In the meantime, I welcome your comments.

-Bob

P.S. This piece was inspired by this post on Hypebot and this story on NPR.

Your Story: A Powerful Way to Connect with Music Fans

It was 1994. The band I was in, called Roomful of Jimmys, had just started some intense sessions for our debut release. At the end of one long day of recording, our bass player, Jim Broyles, had to leave for a family commitment.

But we still needed to record the drum track on a song that Jim sang - a parody called "Barney Rotten." (Imagine Johnny Rotten of the Sex Pistols singing the Barney the dinosaur kids show theme song. It's hilarious.)

I remember Jim saying, "I should have left already, but if you guys want, I'll do one take. But that's all I have time for, and we have to do it now!"

So we slammed into a quick, punked-out version of "Barney Rotten." Tony Peteraf was on drums; Dave Palmier and I played guitar. As soon as the last chord rang out, Jim quickly packed his stuff and headed out the door.

When we listened to that one and only take later, it was magical. In our haste to cram the song in, we all played with extra intensity. Not only did the drums sound good, but everyone's part seemed perfectly suited for the song.

It ended up being the only track on the album that had no overdubs (except for an old audio clip at the beginning). Still to this day, that song makes me smile - and everyone who hears it for the first time laughs out loud.

Hmm ...

What did I just do?

I told you a story.

If you're still reading this, I at least held your interest for a few moments. In addition, there's a good chance you were also intrigued and are now curious to know what that song sounds like. (Hold on. That's coming in a minute.)

I related this real-life experience to make a point:

Storytelling is a powerful communication device. It's practically wired into our social DNA. Long before the Internet or even the invention of the printing press, human beings used stories to pass along customs, teachings, philosophy, and more.

Knowing this, why not use the power of stories to communicate with your fans. Don't just deliver facts and sales pitches. Speak with your fans in a way that will pull them in and inspire them to visualize whatever it is you are wanting to impart.

So ...

Don't just tell me that your new album is for sale ...
Tell me a story about something weird that happened during the recording process, an experience you had that inspired one of the songs, or a special guest musician who joined you on one of the tracks.

Don't just tell me about the date and location of your next gig ...
Tell me a story about the venue: what happened the last time you played there, someone famous who played there before, an unusual item on the menu, or a cool decoration they have on the wall.

Don't just tell me about the new free song download you have available ...
Tell me a story about where it was recorded, why you chose to play a kazoo for the lead solo, or the ridiculous jazz chord you used in the third verse.

In short, engage people with stories about the musical things you do and promote.

Any time you send an email to your fans, publish a new blog post, record a video clip, or update one of your social media profiles ... ask yourself:

Is there a story I can tell that will communicate this message better?

If so, tell it. And connect with your fans in a more meaningful and timeless way.

What are your thoughts on the power of storytelling? I welcome your ideas in the Comments section below.

-Bob

P.S. Wanna hear that punk rock version of "Barney Rotten"?

Use this streaming player:


Or download an MP3 of the track using this link.

Listen to more tracks from the album on CD Baby.

Where Passion Meets Profit - How to Make Money w/ Your Music

There's a lot of advice out there about how to succeed in music, follow your passion, do what you love and the money will follow, etc.

In this video clip, I examine two common (but confusing) money-making ideas, dissects them, and reveal what I believe to be the truth about attaining financial success with your music (or any creative talent, for that matter).



Let me know your thoughts on this. Your comments are very much welcome!

-Bob

P.S. Want a subscription to my Guerrilla Music Marketing Confidential newsletter and access to a monthly Music Marketing Mastermind call? Click here for details.

One Way to Energize Your Music Career in 2011

Just wanted to give you a heads-up ...

The new Music Marketing Mentorship Program is now live. I created it to help ambitious artists, managers, promoters and other music biz pros energize their careers in 2011.

Please take a moment to see what it's all by clicking here.

I know you're busy, with a hundred things on your plate. So here's an extra incentive to jump on this now ...

Join by this Friday, January 14, and you'll get some great bonuses.

Like my exclusive audio interview with Martin Atkins, author of "Tour:Smart and Break the Band." He's performed with Johnny Rotten & Public Image Ltd, Trent Resnor & Nine Inch Nails, Ministry, Pigface, Killing Joke & has run Invisible Records for more than 20 years.

If you know anything about Martin, you know he's entertaining and filled with lots of punk-rock wisdom.

Here are two other great bonuses you can get:

Dave Carroll -- His "United Breaks Guitars" YouTube video has been viewed nearly 10 million times. It led to widespread media exposure in Rolling Stone, The New York Times, an appearance on The View and much more.

In this interview, Dave shares some great advice on ideas that spread, working with limited resources, what he learned about the media, and more.

Scott Ginsberg has turned wearing a nametag 24/7 into a lucrative career as a speaker, author and blogger. He's appeared on ABC's 20/20, Good Morning America, Fast Company, The Wall Street Journal, and more.

In this interview, Scott reveals his best ideas on how musicians can stand out and position themselves for success.

I recorded all three of these right before Christmas -- and they're good.

Get the scoop on this Music Marketing Mentorship Program page.

So ... are you in?

Happy New Year!

Bob

P.S. As I enter my third decade of teaching and inspiring DIY artists, managers, promoters and music biz pros ... I created this new program to satisfy a range of needs.

If you're on a tight budget, but still want to benefit from the program, there's an option for that. It starts at just $9.95 - yup, less than ten bucks gets you in.

If you want a more in-depth experience (including one-on-one advice from me) and are willing to invest a modest amount in your success, there's an option for that.

(Unfortunately, there's not an app for that :-)

There are four or five levels to choose from. One of them is bound to be right for you.

But you won't know until you have a look here.

Ted Williams: The Feel-Good Story of the Year!

Watch this. Just watch it ...

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