Content Creation Days

Most artists do not have the itch to create content on a daily basis. And yet, we are frequently called to do so by short sided music industry professionals and the very real forces of the attention economy. Whether you like it or not, social media provides the most powerful tools you have to establish connections with fans. Therefore, TikTok, Instagram, Twitter, and the like all need to be a part of your marketing strategy. 

That said, you do not need to bog yourself down every day with the act of “creating content.” Creating content - making photos, videos and writing quips for your various social media site - is an activity that you can schedule in. Set a day each week when you can make a week’s worth of content to promote or post as the week goes on. 

On that day, set an objective for how much content you want to create. Do you want to make three TikTok videos that can be posted throughout the week? How many Instagram pictures can you take to satisfy your fans? Can you write 10 tweets that you can later copy and paste into your feed? Establishing a quantity based goal will help you sharpen your content creation focus.

This strategy works because it keeps us on track - both as a marketing force and as an artist. When we are forced to create content everyday, we take away valuable time that we can put towards making song, raising funds for music videos, or networking with other music industry professionals. Scheduling content creation for a single day helps you be thee most efficient professional that you can be and permit you to stay focused on your real goal: making art. 

5 Songwriting Prompts

When we struggle to access our own stories as songwriting inspiration, we can tackle a songwriting prompt in order to keep things interesting. Here’s a few songwriting prompts that should help you get the creativity flowing. 

1. Pick up a book from your own personal collection. Now, close your eyes. Turn to a random page and place your finger anywhere on the page. Read from the paragraph where you laid your finger. Write a song about what you found there.

2. Imagine yourself at the end of your life. Write about what you’re feeling as you reflect on your life and look forward to the great beyond.

3. Read through the last ten texts that you sent. Choose one of those texts and use one of them as your chorus lyric. Create a story around these lyrics ethers from your own life or from your own imagination.

4. Choose your favorite song that you’ve ever written. Now, write a sequel to the song. What has happened to the characters you originally explored? Where is the plot now? How will the mood of the music change to fit this new reality you’re creating.

5. Set your alarm for a few hours before your normal wake up time. Place your songwriting tools - pen, paper, computer, guitar, whatever they may be - next to your bed. The second that the alarm goes off start writing about the dream that you had that night.

If you’re in need of more songwriting prompts check out this list on Better Songs made by Grammy Award winning songwriter Jordan Reynolds.

Cultivating a Creative Space

My creative space is fine-tuned to my own needs. There is low light and rose quartz crystals for atmosphere. Scented candles tickle the olfactory sensors. My vision board is hung over my head when I need a reminder of the path I am following. Easels with positive affirmations remind me to keep my energy flowing. My desk is faced toward the window so that daylight can direct the beginning and ends of my day. There’s a lot of good feng-shui in my creative space.

It’s interesting to visit the spaces of other creatives. My client Jordan Richman Higgins has a studio with tons of gear to support his analytical, musical mind and an assortment of synths, ukuleles, and guitars that can spark creativity. Dia Morgan, my former assistant and a great songwriter in her own right, preferred a space filled with exuberance. A piano painted pink and pink cables connecting microphones to interfaces provide a doses of high octane energy that drive her creative process. Another writer I know peppered his studio with fidget spinners, legos, and coloring books. When he got stuck in his process, he was able to reach for some tiny toy and distract himself for a bit before getting back to work.

Our creative spaces should speak to the needs of our own creative processes. Some of us need calm, serene white walls, while others of us need walls plastered with Jackson Pollack-esque splatter paint. Some of us do better with windows of natural light and others need a windowless room where they can get lost in space and time. Some writers need every instrument and software sound at their disposal, while others might need a single, trusty guitar. What’s important is that you recognize your own needs and build your own creative space around it. That space can be a studio, your bathroom, your bedroom - wherever it is that you get your writing done.

I want to encourage you to nest in your creative space a bit. Build it out with objects or pieces of furniture that will keep you inspired. Your environment can greatly impact the quality and quantity of your work. Take some time to foster a space that will drive your creativity forward.

The Art of Doing Nothing

There is a strain of the puritanical work ethic in America that has become a bit too pronounced. We herald work as the be all end all to life. Those who forego retirement in favor of a lifetime of work have more status than those who retire early. Many young people, hoping to show their commitment to their employers, elect not to use their vacation days. So many others exist in a capitalist system where the option does not even exist - a litany of bills require that many people work multiple jobs. I mourn this loss of leisure time.

Artists in particular require leisure, a space to do nothing without interruption. Leisure, counterintuitively, is part of our work. This is the time when we can think, reflect, be quiet, and let the silence of a day fill our mind. Divorced from distraction or work we can consider our own perspective of the world. In short, leisure time gives us the space to dream.

It is essential as an artist to create space in which you can do nothing. If you are a scheduler, write down a time each week - even if its just for an hour - when you will turn off all electrical devices, put down any work, close ever book and just go outside for a walk, unencumbered. You’ll be shocked at the way your mind wanders when you yourself wander outside. By doing nothing, you create a mental space of great activity. Listen to your inner mind, ponder at the intricacies of life, and think deeply about your place in the universe. You can take these thoughts and realizations back into your work when you settle again at your desk to write.

Sometimes, the event of your day can be “nothing.” Prioritize this time and watch your creativity grow. Give yourself permission to do nothing.

Your Solo Writing Process

The vast majority of charting songs today are written in a collaborative environment. Pop titans like ABBA, Katy Perry, and Billie Eilish have all benefited from songwriting collaboration. Very rarely do we see a single name on the songwriting credits. Still, I think every songwriter needs to instill a process for solo writing.

Solo writing allows us to step away from other writer’s voices. Outside perspectives can enhance a song, but there are those of us whose creative insights get muddied when they are frequently overpowered by the opinions of others. Indeed, it is when we become uncertain of our own perspective in co-writing that we should practice solo writing most intently.

Returning to solo writing after a long period of co-writing presents us with a unique set of circumstances that can enhance creativity. Unlike co-writing, solo writing can be done sporadically, sans preparation, and without a pressing need to finish a song within the timeframe of a single session. In a solo writing space, we can stretch the process over days or even weeks. We can learn to trust our instincts entirely and choose words or melodies that other co-writers overlook. Through solo writing, we can return to our own voice and experience a singular perspective.

A few recent successes show us that the solo write can be a powerful hit making process as well. Conan Gray’s self-penned “Heather” has wracked up hundreds of millions of streams cross platform. A few tracks from Olivia Rodrigo’s blockbuster debut, Sour, were penned solo by the artist herself. Though songwriting troubadours don’t top the charts like they did in the 60’s and 70’s, we still see examples of commercially successful solo writers.

I don’t say all this so that you throw co-writing as well. But, I do want to give you permission - if you need it - to step away from co-writing from time to time. Return to yourself. Return to your voice. Reaffirm your own perspective through the love of your own ideas.

Happy solo writing.

Circumnavigating Financial Barriers to Making Art

Circumnavigating Artistic Financial Barriers

Let me blunt: being an artistic is an expensive affair. Yes, there are a lot of ways to financially compensated including through streaming monies, merchandise sales, ticketed shows, and corporate sponsorships. Indeed there is a bounty that awaits those who make great music. Still, the upfront cost to getting a career started can seem overwhelming. So, what’re some ways that you as an independent artist can avoid investing heavily on the front end? Let’s discuss. 

Music Production. If your greatest barrier as an artist is paying for music production, then you have several options ahead of you. The most rewarding road will be to learn how to produce yourself on any of the accessible Digital Audio Workshops available to you. This will help you develop a coherent artistic sound and give you a broader set of skills than your peers. If becoming a producer isn’t available to you, try to find a producer who will negotiate budget with you. Often times, producers will reduce their upfront fee for a portion of the master. Master splits are a great way to prioritize output while minimizing cost. If you’re not in a music city or don’t have access to producer connections, you can always find beats on websites like BeatStars. Little Nas X wrote “Old Town Road” over a BeatStar track and look how that turned out for him!

Video/Photo. Its important for a lot of musical artists to hire visuals creatives to flesh out their aesthetic world. The costs of photoshoots and video shoots add up though; how could it not when you factor in the labor of photographers, stylists, make-up artists, editors, colorists, and other visually creative professionals? Artists like Magdalena Bay have long used DIY green screen and self-edited their videos in order to create a coherent visual world and output great content. If you’re a little less visually inclined, a smart phone can take you very far. Using your smartphone or one of your friend’s smartphone, you can shoot, edit, and upload great DIY album covers or simple videos. Early on, this is an cost-effective to pave a path forward.

The grand takeaway here is that when you don’t have access to finance your art you need to take a DIY approach. Cutting deals with producers, using online beats, making videos on your phone are all acceptable ways to get your art out there. Don’t let the financial barriers stop you from releasing your music. 

Cracking Writer’s Block

Writer's block. The wall. The unscalable, insurmountable, sky high, stony wall. Every writer chugging along eventually encounters this obstruction. Enigmatic periods of creative desolation are part of the process - that much is true. Almost from the second a writer encounters a bit of writer's block, they immediately ask, "how do I get out of it?" Let's discuss.

The first way to get over writer's block is to give yourself some time away from creating. We often lack inspiration when we've overworked ourselves. The tap, unfortunately, has run dry. If you identify with this scenario, then step back from the creative process. Take a walk. Gift yourself the joy of a week off from writing. Pick up a hobby or binge watch a television show. Time off can be revelatory.

If this does not work for you, you might be someone who needs to push through. Write consistently while distancing yourself from an inner critic who tells you that your work is not up to par. If you can silence this voice, you can begin to claw yourself back toward a period of creativity. Accept that your initial attempts at working might not be your favorite and reward yourself for doing the work anyway.

Others of you might be experience severe block because your writing process has become pedestrian. You're used to the way in which you're creating and therefore you're not excite by the process or the end product. If this is the case, then switch up what you are doing entirely. Find new writing partners. Write from a more chaotic, less orderly, place. Write from the perspective of someone you hate. Place a time constraint on your writing process. Whatever you do, make sure it is a challenge.

My favorite thing to do when I hit a block is to listen to a favorite album. Then I pick my favorite song from the album and rewrite the lyrics. This way I'm writing to melodies I know are astounding and can still get a new story out into the world. There's a million ways to tackle the wall. The one thing I know for sure is that you will get over it.

Your Back Catalogue

Year after year, you will collect songs that do not get released. Professional songwriters typically crank out somewhere between 100-200 songs per year while only securing a few cuts. For better and for worse, you will end up with a large back catalogue of songs.

Later down the road, this back catalogue can be extremely valuable, especially if you become an upper echelon songwriter. Universal Music Group's acquisition of Bob Dylan's entire catalogue amounted to $300 million for the singer songwriter. Paul Simon sold his catalog for $250 million to Sony Music Publishing. Hillary Lindsay, who has co-penned multiple country number ones and Lady Gaga's "Million Reasons," also earned a sizeable chunk from the sale of her back catalog sale to Concord. Obviously, creating a robust and well-maintained catalog of songs can be a great long term play for any songwriter.

Though it can be agonzing when a song is not cut quickly after conception, your catalog can be used as pitch material for new artists later down the road. Sia's "Chandelier" was originally pitched for Rihanna's project. Sia would later take the song as her own and reestablish her artist career to great efect. "Goodbye Earl" was originally written by Dennis Linde for an unreleased 1990 album for the band Sons of the Dessert. The song would remain unclaimed until the Dixie Chick's recorded it and promoted it as a single between 1999-2000. The song peaked at 19 on the Billboard Hot 100 and at 13 on US Hot Country. A great song in your back catalog sometimes just needs to wait for the right artist to come around.

The thing about a back catalog is that it can get out of control. That's why its important to keep detailed records: who are the other writers, what is their PRO information, what are their e-mails, do you have a copy of the instrumental and the demo, are the publishing splits agreed to? You can get into trouble if this information is not easily accessible especially if a music supervisor wants to use your song for television or a commercial. Ensuring that splits are agreed to and songs are registered accordingly with PROs upon their completion will help you navigate business dealings should a song from your back catalog gain success later down the road.

Don't be discouraged if certain songs do not make it out into the world quickly. There are tons of instances in which holding onto a song can generate unforeseen revenue streams. Sometimes, it's better to hold onto a great song until the right artist or opportunity arises. Just make sure to be prepared with the proper legal information and splits agreements.

Mentorship

Every semester I am privileged to mentor one or two high school students who are songwriters with the passion to turn their craft into a career. Teaching is one of my favorite things about my job. I adore working with writers early in their career in order to set them on the right path.

When young writers approach me for guidance, I am able to give them the information, inspiration, and nurturing they need to develop. They often submit their earliest works for critique so that I can point out its strengths and weaknesses. Our conversations help them decipher the the stories they’re trying to tell and give them a better understanding of how to write cohesive narrative. With young songwriters especially, I do my best to install routine and discipline, often suggesting they write a certain number of times per week. Change happens before their eyes and they are energized by their own development.

The ability to ebb and flow is crucial. Being flexible is one of the greatest strengths children have. They don’t live in a straight line, but instead experience this life in 360 degrees with all of its twists and turns. Expansion can happen at any time and in any direction. More often that not, we become more set in our ways as we age, finding it harder to change a pattern. I have had clients who paid me good money only to argue and stand planted firmly in their age old beliefs, unwilling to admit their methods of work were working against them.

Kids, on the other hand, are resilient and eager to move forward. Heck, that’s the only direction they know! Learning young is a plus.

I think it may be my age, but I am now more interested in giving back. When I started my career, my own journey was my only concern. But now, I want kids to have every opportunity and all the tools they need in order to get ahead.

I am here to look after their interests as if they are my own.

A Content Driven World

Even as we slowly emerge from the worst of the pandemic here in the U.S., TikTok's dominance remains resolute. The app has been added to the shortlist of an artist's internet toolbelt that includes Twitter, Facebook, Instagram, and YouTube. The TikTok algorithm's emphasis on discovery makes it a particularly powerful tool for artists on the verge. Along with the other apps of relevance, TikTok's dominance solidifies the power of "content" above all.

Content is anything that an artist puts on the internet. A tweet, a lip sync video, a BTS segment, a song, an interview - literally anything and everything is content. Content keeps fan armies engaged and permits artists to maintain power in an attention economy. Those artists who place a greater emphasis on creating continual streams of content are the ones who are cutting through the noise.

Look at Lil Nas X for example. His releases are multimedia events that are far more than just a song. In the months leading up to his recent releases for "Industry Baby" and "Montero (Call Me By Your Name)", Lil Nas X shared snippets of his songs online. People were clamoring for the song long before they were officially dropped. Ultimately, they were both released with incredibly controversial videos. Those pieces of art stimulated internet trolls to rage against Lil Nas X with homophobic slander. Lil Nas X used the blowback for weeks, clapping back at Twitter haters and utilizing absurd tweets in TikTok videos that created hundreds of thousands of impressions and kept Lil Nas X in the conversation. Lil Nas X created so much content from that single release.

Doja Cat is another master of creating content. Unlike Lil Nas X whose persona is a step ahead of his music, Doja's songs are the dominant force behind her success. Still, her ability to engage across the internet ecosystem sustains her star. Her TikTok is littered with hilarious videos in which she trolls other TikTok users or dances very poorly. Her instagram lives have created more than a few noteworthy moments. With steady releases and constant internet engagement, Doja Cat has mastered the age of content.

The lessons for up and coming artists are many, though not all of them feel sustainable. I want artists and songwriters to think of content creation as a PART of their job. You need to be on the internet - posting Instagram photos, creating TikTok videos, and tweeting regularly - in order to promote your music. Your main goal should still be to create incredible music but you need to be out there filling the internet with your own content in order to get ahead. That means, you will often be creating things that are not music in order to garner an audience. You might not like it (I don't), but that's the content driven world we're living in.

Your First Intention

I believe in the power of intention. By determining to act in a certain way, you can accomplish any goal. My first piece of advice for any aspiring writer is to set an intention to be great. Ascending the proverbial ladder to greatness will help you achieve success.

Diane Warren, Greg Wells, and David Hodges are a few who have made greatness their mission. They don’t stop or get complacent. They strive to write hooks and stories that connect to people’s hearts. So, how did they get to where they are?

The answer is the same for all these great artists. Hard work, discipline, practice, grit, the elimination of bad habits and acquisition of good ones, self-motivation, and the pursuit of worthwhile advice and mentorship led them to become masters of their craft.

There’s a lot to do if you want to be great, but the rewards are endless. Opportunities afforded to great writers outpace those afforded to more average craftsman. There is also a sublime freedom that comes with being in full control of your craft. Nothing is more fulfilling than that freedom.

To climb the ladder, you must first set the intention to get to the top. I suggest you make it your mission to achieve greatness.

Writing with an Amateur

As you grow more as a songwriter, you will find that you enter more co-writing sessions in which you are the most skillful craftsperson. Other writers will look to you for guidance and you will need to step up to the plate as a dominant force in your sessions. So how can you go about being an effective leader when you're writing with more amateurish writers?

Let's first start by confirming that writing with less seasoned writers will benefit you. This is especially true when you are writing with artists looking to release music. In these cases, you are more likely to secure the cut and develop relationships with young artists who want to put their trust in you. When you are the more skilled force in this scenario, it is your job to manage the session in a way that gets you the cut.

The easiest way to make these sessions winning experiences is to make your co-writer feel comfortable. Positive feedback, free flowing conversation, a "yes and" attitude, and questions that engage your co-writer are all ways to ensure that you're drawing the best out of your co-writer. Treat your co-writer of any skillset as an equal and you'll see the energy of your session guide you to a better song. If you are able to achieve this, you'll have greater input with the writer or artist you're working with in future sessions.

The language you use when communicating with new talent is essential. Lacking experience, they might be more inclined to be defensive or less open to input. Your communication will need to cut through this reality.

When they put forth a line you think could be better, push back gently - "That's a cool suggestion. I think that a better line is out there. Let's keep pushing." If they are quiet and unsure of themselves, try to get them out of their shell with words of encouragement - "Hey, this song is great so far. The lines you came up with are some of the song's best. Where do you think it should go from here?" Gentle language that uplifts an amateur will help you build a strong relationship in a short amount of time.

Discomfort helps us grow. That's why working with people who are better than us is so exciting. Sometimes you get to be that person, the one who is the most skilled and self-assured in the writing room. Take advantage of those situations by being kind, gentle, and inclusive. Employing a strategy in which everyone feels like they can contribute will contribute to your own success.

Asking Questions

Societal norms in the 1980s permitted those without security screening or proof of ticket purchase to waltz through an airport to pick up loved ones or accompany them to their gate.

In 1984 I had a boyfriend that traveled frequently and I took advantage of this airport practice, greeting him at the site of his arrival often. One night, however, his plane was delayed by an hour and I was left to my own devices in the terminal. After purchasing a cup of coffee, I planted myself in the seating area adjacent to the gate.

A young man also waiting for someone on that plane sat down next to me. We struck up a conversation. Making small talk, I asked him if he lived in Los Angeles and what he did for work. He proceeded to tell me his life story and how he had just moved to Los Angeles to pursue his songwriting dream.

My eyebrows raised and a slight smirk out across my face. “What a stroke of luck for him,” I thought to myself, “He’s sitting next to a real-life music publisher who could help or at least point him in the right direction!” I waited for a lull in his monologue to let him know that his big break might be sitting next to him in an airport terminal.

I waited and I waited. Then, I waited some more. I started to wonder whether he was planning to ask me any questions or continue talking about himself until the delayed plane arrived. Shockingly, I didn’t get a word in edgewise. He never asked me what I did. He never asked me anything, actually. He was so self-absorbed that he missed an opportunity of a lifetime.

I started to get a little mad, but then I felt pity.

Connections are important in any field you go into. In a social profession like songwriting, connections are everything. Only by asking questions and listening can you develop relationships that open doors. If you only talk about yourself, you’ll never know if you’re speaking with someone who can help you get ahead. Without the social tact to inquire about the stranger in the seat next to him, this young man missed out on a connection that could have changed the course of his life.

The plane finally landed. I parted ways with the young man, waving goodbye and wishing him luck on his songwriting journey. The next day I returned to my office, helping songwriters who were living the dreams the young man at the airport rattled on and on about.

10 Reasons to Attend A Retreat

1) Be inspired to fulfill your dreams. At a Judy Stakee Songwriting Retreat you’ll be surrounded by a community of like-minded songwriters pursuing a creative path. Enjoy amazing food, lectures, days filled with writing, and feedback from an industry titan as you learn how to pursue your dreams with intention.

2) Practice Yoga. Every morning you’ll be led through an hour of yoga by a certified yoga teacher. We’ll set an intention to challenge our bodies as well as our minds thus opening us to new possibilities within our craft.

3) Connect and network with other songwriters. Each retreat will include a cohort of 15-20 songwriters who will learn the same methodologies as you throughout your retreat. You’ll get to write and work with these people during the retreat. Afterwards, you’ll be added to a Facebook group of over 700 songwriters who have participated in previous retreats who you can reach out to and collaborate with.

4) Eat great, healthy food. Each retreat will be staffed by a private chef who is committed to making healthy food that will keep you energized throughout the retreat.

5) Over 10 hours of lectures, exercises, and discussions about songwriting. Your retreat will include seminars that will give you the tools to write better songs, navigate co-writing spaces, and elevate yourself within existing music industry structures. You’ll learn from me and other guest speakers whose knowledge runs the gamut.

6) Co-write 3 songs. Each day you’ll be paired with two other songwriters from the retreat and tasked with writing a song. You’ll be challenged by writing prompts and a time constraint for finishing your song. As you write, I will poke my head in and give immediate feedback to you so that you can make the best songs possible.

7) Perform each night. Every night of the retreat, you will perform the songs from daily co-writes. You’ll practice singing in front of an audience and learn how to present a new song to a non-critical crowd.

8) Learn how to critique your own songs. As you go through the daily cycle of writing, critique, and seminar, you’ll equip yourself with the ability to determine if your own songs are at the level you hope to achieve. When you return home, you’ll be capable of looking over your songs with a more critical eye, correcting mistakes you might not have seen before.

9) Disconnect from your everyday life and responsibilities. Because each retreat is a self-contained set of days in a new space, you’ll be forced to fully engage with your immediate surroundings. Thrown into a world of learning and writing, you’ll only have time to be present as a student and as a writer.

10) Hang out with me for 5 days! My favorite part of these retreats is getting 1-on-1 time with you. We’ll get to talk about songwriting, the industry, and anything else on your mind while we learn and grow together in a new space.

Where To Put Your Focus

Major music industry players are rattled with angst over streaming numbers, Spotify payouts, label contracts, social media promotion and absorbing as much attention as possible on the internet. However, I am not.

It’s not that I don’t care, but the attention economy and shifting industry infrastructure are not my areas of concern. My philosophy has always been it all starts with a song. Before you can jump into the world of promotion, you need to have a great product. My focus has always been the song itself.

I believe that without a hit song you cannot have a seat at the proverbial table. While executives are worried about the end game, I’m worried about the first move. How can a writer shape a lyric? How can they tell their story? How do they develop compelling songcraft? My purpose is to make sure that songwriters have the tools and education they need in order to develop their craft and themselves.

Artists and songwriters used to have a definitive path to success: get signed by a label or publisher and get launched into the stratosphere. With the advent of the internet, those traditional gatekeepers have been sidelined. Anyone can release music regardless of its caliber. Mediocre songs have flooded the online space, but talent still wins out. Creating incredible songs is a good way for artists and songwriters to stand out.

Specialized professions require hard work, higher education, attendance of workshops, and lots of intention. Doctors, architects, and pilots all need the time, space and tools to gain footing in their respective careers.

The same is true for songwriters. They must put in the time and energy to be unique, to be able to share their perspective in a story that is a few minutes long and 200 words. And, they must be able to perform this feat over and over again. Songwriting is not a career for the faint of heart. It takes soul searching, dedication, the knowledge of how to collaborate and a gritty attitude that will breed the uniqueness needed to stand out amongst all the others out there.

How much time and energy you put into your development will directly correlate with your success. So, you need to ask yourself, “how much of myself am I willing to put into my dream?”

Shifting Role of the Songwriter

I've been thinking a lot today about changing structures within the songwriting community. In the 90's and early 00's, writers made strong middle class income on the backs of album cuts on records that sold millions of copies. There was less of an emphasis on "authenticity" and the dominance of the writer/artist had not taken over. Many more major pop acts were divorced from the act of writing itself. That is not so true anymore and a cursory glance at the this year's top albums reveals that most artists have a hand in writing nearly all of their songs.

More interesting to me is how this has changed the way that songwriters interact with artists. We're seeing pitched songs and big songwriting teams less often, both on singles and album cuts. Olivia Rodrigo's Sour is largely a collaboration between the artist herself and Daniel Nigro. The entirety of Billie Eillish's discography is penned by her and her brother, Finneas O'Connell. Taylor Swift's recent effort, Evermore, features the names Taylor Swift and Aaron Dressner as authors on 14 songs of the 19 songs on the album and the sole authors of 13 of those songs.

I think this trend is one that is still emerging and not one that has solidified as the dominant creative process. If you look at the credits for Morgan Wallen's album, Dangerous: The Double Album, you'll see a plethora of names. That record was number 1 for 10 weeks straight this year. The Weeknd's After Hours and Justin Bieber's Justice similarly see a commitment to large writing teams. We can't say the death knell has wrung for the pitched record or large writing teams.

What is becoming clear though is that a more insular way of writing is emerging, both with Gen Z power players and the dominating forces of the millennial zeitgeist. In a decade, we'll look back on writers who focused on developing intimate relationships with artists as prescient. I look at this shifting trend and encourage writers to re-strategize and focus on penning as many songs as possible with the artists they believe in. I believe that teams will continue to be insular as artists look to their heroes and model their writing teams after them.

I Cultivate Dirt

Did i get your attention? It’s a farm metaphor but I promise it will make my point.

My job is to mentor, teach, and inspire songwriters. I help them establish long careers and maintain well-balanced personal lives. My secret: good dirt.

If I was planting a garden and wanted fruits, vegetables, and a big oak tree to grow durable, I would start with the dirt. Only when you pack a soil with nutrients can your plants grow properly.

I’m reminded of the book Goat Song by Brad Kessler. A young couple moves from the big city and buys a farm in an attempt to make goat cheese. While sampling their first batch of cheese, they realize their product is inedible.

Though one might assume the goats were to blame, the problem started much earlier in the cheese’s life cycle. In the end, the dirt they used was not sufficient. Their final product was mired by problems early on in the process.

They upgraded their dirt, which enhanced the quality of the goat’s pasture food, which, in turn, helped the goats make more nutrient rich milk. By fixing an issue at the cheese’s inception, the young couple was able to produce something delicious.

I too like to start with “good dirt” in my line of work. For me, that means that I am engaging with a songwriter who has a solid command of the English language, the ability to create compelling melodies, a strong intention to succeed, a mastery of their own voice, and a connection between their body, mind, and soul. Good dirt is packed full of nutrients.

Most of the time, a songwriter will need to strengthen different parts of their dirt. When I encounter a songwriter without the language to express themselves, I first have to stretch their linguistic capacity. I engage them in conversations and discussions that make them reflect on their own experience. If I’m counseling a songwriter who is lost on the melody front, I’ll teach them the basics of song structure and the theory of R.P.M. (Rhythm, Phrasing, and Melody) in order to create more compelling melodies.

I help my clients build “good dirt” that will help them grow their careers in perpetuity. With a strong foundation, they’ll be like the young couple from Brad Kessler’s Goat Song spinning a heavenly product from a well-prepared dirt.

When to Leave a Co-Write

The obvious answer to the question of when to leave a co-write is "when the song is done." This is true 99% of the time. However, there are a few instances in which you can head out early.

First and foremost, you should feel okay leaving a co-write if your safety is in question. In my heyday as a publisher, I had many women clients who I would schedule sessions for. These sessions were with many songwriters and producers who were kindhearted people. But, sometimes, a woman songwriter gets put into uncomfortable positions by misogynistic men who proposition them. I want to make something clear for women who read this newsletter: it is well within your right to leave a co-write if you're feeling mistreated or dehumanized by men in the writer's room.

Another situation you may want to plan an escape for is one in which another writer is inherently antagonistic. I once worked with a writer who walked into a co-write with a man he did not know. Within ten minutes, this man told the writer everyone that was wrong with his music and that he could help him write songs that were actually good. The energy was antagonistic and the conversation amounted to bullying. If you find yourself in a position like this, find an excuse and leave.

Just as racism and prejudice abound in corporate offices, these lesser elements of society can be found in writer's rooms. I've heard stories of writer's experiencing anti-semitic language or having to sit in rooms and men expressing homophobic sentiment. If the environment feels safe, I encourage you to call out this type of behavior. If not, I encourage you to leave. No one should have to subject themselves to racism and prejudice in their place of work.

The songwriting community does not exist in a corporate office so most folks are forced to go without a human resources department. Lacking a means of issuing a formal complaint against other writers, sometimes the only thing for us to do is leave.

Your Assignment:
Know when to leave.

Writers, these types of situations don't come up that often. But, I do want to normalize that these are situations you might come across in the workplace. Have a plan in place before you encounter these types of behaviors, so that you can have an easier time leaving.

- Judy Stakee

The Growth Chart

Years ago I discovered that Rudolph Steiner, a 20th-century philosopher, and mystic, had conceived of a theory in which human development is based on seven-year cycles and then linked those cycles to astrology. I found it fascinating that in that period of time, every one of our 50 to 75 trillion cells is replaced with a new cell and we essentially become new people.

It consumed my thoughts as I was building my own business and meeting with songwriters from all walks of life. Then one day, I actually used that filter to assess and communicate with a client. The seven year theory helped us figure out their path ahead by grounding us in structured periods of growth.  It gave me an additional tool in which to guide and mentor my clients.

I started paying close attention to the behaviors and traits of each period of time and how I could apply and give meaning to my own growth chart.

This is my interpretation.

Ages 0-7  are when you, the seed, are born and roots sprout into the earth, starting the process of growth in all directions; you learn how to talk, walk, brush your teeth, eat food, try to munch your feet, and cry when you are hungry. You learn to control the avatar body you are now inhabiting.

Ages 7-14 are when you bloom and you become a unique flower. You push through the foundation in each direction; you go deeper below to plant your feet and higher above to reach your dreams, strengthening the stem to your flower to become you. Some of you get braces, grow tall, grow wide, get glasses, or become a fast runner. No matter where you are, you are now distinguishing yourself in a sea of others.

Ages 14-21 are the years you learn independence within the family unit. You may get a job, date a boy or a girl or both, learn how to drive, and make your own decisions. However, you do it with a net beneath you so that, if you do make a mistake, your family has got you.

Ages 21-28 are the years when you learn independence outside of the family unit. You start down your career path giving yourself the time and space to create what you want and also setting up a home and life for yourself. You do it, however, without that net beneath you. Family is close by, but it’s time for you to take the reins of responsibility and risk 

Ages 28-35 are the years when you should have laid a strong foundation for your career and can start building your family, a support system to join you on this journey.

Ages 35-42 are the years when you integrate your career and family finding the balance between them, creating one world.  It’s no wonder breakdowns and crises arise in your 40’s. This is a tough assignment.

Ages 42-49 are the years you make sure your foundation is solid, reinforcing conscious decisions going forward. For most, you have either been doing the same career since your 20’s and/or your children are now grown and you have time to once again think about what you would like to do, putting more focus on your happiness than that of others. Soul searching, loving life, and being of service to others are just a few of the benefits of this timespan. 

Ages 49-56 are when wisdom becomes abundant and transition is imminent. By far, these were some of my favorites years. You gain mastery over your craft and inspiration to reinvent yourself while realizing that being selfish is a requirement for self growth. You finally feel the freedom to tell someone where to go without feeling guilty. It is also a time when love might spark anew.

Ages 56-63 are when you feel like you come home to yourself. You fully understand that you created your own reality which leads you to live with more focused intention. It’s also the time when a fork in the road can occur and a change in pattern and direction can really show you what you are made of; divorce, death, and career loss are just a few things that can affect you deeply. Fewer years ahead than behind makes every day that much more important.

Understanding how you develop affords you another perspective that helps you tell your whole story and guides you through your life.

Before Six Feet Apart

To be honest, I wasn’t going to post this picture. We took this photo as a personal keepsake. We had no intention of stirring up publicity. But, the world has changed since it was taken in early March - a week before lockdown - and so too has my perspective of it. Now, I’m looking at this photo through new eyes, as a relic of the before times when good friends could connect and spend time together.

Since taking that photo, I have been thinking a lot about Sheryl and our story. You see, I am finishing my second book and have been recounting our memories, reliving our escapades on a daily basis. To make matters worse, I listen to her music when I am writing! I have cycled through every one of her albums on Spotify many times over. My house has been filled with her voice and I still love it so much even after all this time, maybe even more now that I have had a chance to sit down and listen to her vast catalogue.

As many of you know, I built my career by discovering Sheryl, developing her talents, and marketing her correctly to an industry that would help her build a lifelong career. We met in 1989 and by 1990 she had signed a record deal; then in 1993, she released a multi-platinum, grammy award-winning record.

I was drawn to her from our first lunch. We were only five years apart in age, both at the beginning of unfolding careers. I worked with her independently, foregoing a contract offer for close to a year. I invested my personal time because I saw her talents, clear as day. Her work ethic was impressive such that she improved by leaps and bounds. From the day she finished working as a back-up singer on Michael Jackson’s Bad Tour to the day she got her record deal was a year, only a year!!

My takeaway from that time was that nothing could stop Sheryl and me. We got a lot done being a we. She became proof to the industry that I knew how to discover and develop talent. And, I was able to provide her with exactly what she needed: a combination of a coach, manager, friend, sister, and mentor.

The last time I traveled to Nashville was in March for my “It All Starts with A Song” retreat. It just so happens that on the day I got in, Sheryl was having a ‘garage sale’ of her clothes down the street from where I was staying.

I dropped my suitcase off at my friend and former writer Jamie Houston’s home. We walked down the block to the Christian book store where Sheryl had set up camp. Jamie and Sheryl were also friends from the time Jamie wrote and produced a duet for her and Miley Cyrus.

We walked in together and Sheryl dropped her jaw. Surprise! We had not seen each other in years. She immediately crossed the counter to get to me. We hugged and I got a little teary eyed. She felt like home. Then, she yelled across the room, “Kathy get over here, look who showed up!”

Now who gets to be surprised?

Her younger sister, Kathy, has lived in Nashville for over twenty five years. When I was traveling there consistently throughout my corporate career, we would get together for dinner. It became a thing and there was a group of us: Tracy Gershon (A&R Exec), Jennifer Cooke (Mgr Amy Grant), Allee Harnell (Concert Promoter), Shari Saba (Publisher), Kathy Crow (BMI Exec) and me. We would have guests from time to time, but for the most part these girl’s became my core Nashville group.

We would meet at the newest restaurant, eating, drinking, and smoking till the wee hours. We had someone from every part of the business. Collectively, we could run the show and, most nights, we left feeling as if we had solved all the problems in our world.

All these amazing women lived in the same town, but they didn’t see each other except when I came to town and arranged it. This went on for years as we watched each other get married, have kids, change jobs, change lifestyles, grow up, and move on.

It’s been a good ten years since one of our dinners, but that bond still exists; if we needed each other, I know we’d be there. Confession: one of the reasons I like Facebook is getting to be together forever through posts!

As Sheryl, Kathy, and I hugged and caught up, I found myself wishing we were not standing in the middle of a store with Sheryl’s adoring fans. We caught up as best we could. We talked about my brother Jeff’s passing. Jeff had been Sheryl’s dog sitter when she went on her first European tour. He lived at her place on-and-off for nine months taking care of Scout. We talked about her boys and her life in Nashville. Since we were still a week before the stay at home order, the energy was full of hope and happiness.

We took this picture as we said goodbye.

I was not intending to share it. It’s a treasured moment for me. When I look at it, I remember the three of us attending various dinners, holding our breath in countless backstage waiting areas, and laughing as we crammed ourselves into a limo headed to the Grammys!

I love what this photo represents for me: a photo of friends who I am so very proud to say built lifelong careers on foundations laid together 30 years ago.

Now that is something worth posting.