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Here are the job opportunities (or as we like to call them, Grind Opps) from this week's show.
04/17/17
GRIND OPP #1
Position:
Production Assistant
Industry: Film
Location: New York, NY
Description
#1 National Cable Morning Show seeks Production Assistant.
04/17/17
GRIND OPP #2
Position:
Post Production Assistant
Industry: Film
Location: Los Angeles, CA
Description
Production company seeks assistant for post-production department.
04/17/17
GRIND OPP #3
Position:
A&R Scout
Industry: Recording
Location: Youngstown, OH
Description
Youngstown record label seeks up and coming A&R Scout.
04/17/17
GRIND OPP #4
Position:
On Air Personality
Industry: Radio
Location: Jacksonville, FL
Description
Jacksonville radio station seeks on air talent.
04/17/17
GRIND OPP #5
Position:
News Editor
Industry: Radio
Location: Phoenix, AZ
Description
Arizona’s largest radio newsroom needs an assignment desk editor.
04/17/17
GRIND OPP #6
Position:
On Air Talent / Board Operator
Industry: Radio
Location: Philadelphia, PA
Description
Philly station looking for fresh talent to produce and execute on-air radio show that is both entertaining and informative.
04/17/17
GRIND OPP #7
Position:
Sound Board Operator
Industry: Radio
Location: Bakersfield, CA
Description
Radio station in Bakersfield seeks Audio Engineer to operate sound board during broadcasts.
04/17/17
GRIND OPP #8
Position:
Studio Camera Tech
Industry: Film
Location: Salt Lake CIty, UT
Description
Salt lake City news channel seeking studio camera tech for support of newsroom production of live and recorded television.
04/17/17
GRIND OPP #9
Position:
Music Administrator
Industry: Recording
Location: Los Angeles, CA
Description
Los Angeles based record label seeks Music Admin for day-to-day administration duties associated with our releases and up coming releases.
04/17/17
GRIND OPP #10
Position:
Pastry Prep Chefs
Industry: Culinary
Location: Napa, CA
Description
Napa Valley baker is in need of a Pastry Prep Chef and Baker.
Transcript
Cloie: And what we are doing is bridging the gap between the techs and the artists and making it so that everybody knows exactly where to find everybody else. It is geo-based. We’re talking about AI, artificial intelligence. And not just the movie, right? It’s going to give you anything that you would need to get a job done. Or if you’re looking for a service, if you can provide a service, it’s going to give you all of that stuff and it’s based on your own location.
IZ: And this is actually great for folks that may be viewing that actually own studios or green screen facilities or whatever because you can actually post all your information and allow those who are part of that community and culture to seek you out and link up.
So I think that’s one of the greatest components about this app, is that is allows you to connect with other people who are in the same world as you are. And that’s really what it’s about, networking and leading these folks. And first and foremost, allowing people to understand that you do this, but you also can attach what you charge and the ability to make some money, get your work out there. That’s always a great thing because that’s one of the things that isn’t so within our reach these days. And, “How do I get to that? Well, how do I meet this person?”
Cloie: Put yourself out there, make it happen. And you can do that with the Facebook Messenger app.
IZ: Yeah. So definitely utilize that app, it’s definitely beneficial and helpful in many aspects. So check it out.
Cloie: I love it. I love it. Now I think we can move on to GRIND OPP #2.
IZ: Let’s move on to GRIND OPP #2.
Cloie: I say “yes.”
IZ: GRIND OPP #2 of the day is in the field of postproduction assistant.
Cloie: Also in L.A. This is my day.
IZ: PAs is where it’s at, huh? And this is in Los Angeles, California. Production company seeks assistant for postproduction department. Edit, sync audio, and set manipulation using Adobe After Effects. Comfort with key frame manipulation. I wasn’t done reading those details. Precomp workflow and data/project management. So yeah.
Cloie: That is a very, very technical world that I don’t even pretend to have a hand in or handle on, but I know what all those things mean. And it’s basically you’re making things happen after it’s shot, signed, sealed, and delivered and are using After Effects, which has become an industry standard.
IZ: Right.
Cloie: You know what I mean?
IZ: Yeah.
Cloie: So we talk about sometimes with jobs that that doesn’t say “must have experience required,” but you do need…for that job there’s some know-how attached to it.
IZ: Absolutely.
Cloie: Which, of course, you have from our RRFC, Recording Radio Film Connection. For those of you just tuning in, that’s that logo that you see there.
IZ: Yeah, yeah, it’s right there. Try typing that in Google real quick and see what you get.
Cloie: Try saying that five times quickly, it’s not easy.
IZ: Yeah. So again, that was in Los Angeles, California. Now before we get into our next GRIND OPP, we had a gentleman by the name of Steve Gordon last week who has an incredible book that we also want to remind you of to go out there and get, especially for those creators. Okay, there it is, The 11 Contracts. That every artist, songwriter, and producer, and I’m going to say and entrepreneur, should know. Okay? Know this is an incredible book dealing with management agreements, production company and new artists, indie label deals, etc. There you go, Cloie is holding it up. Okay.
Cloie: Vanna Black right here.
IZ: Yeah. What I loved about having Steve on last week is he spoke about issues that are happening actually today with creators and songwriters.
Cloie: Real-life experience.
IZ: It wasn’t somebody who was referencing like, “Well, yeah, 10 years ago I had this one client come in.” This was things that are going on in today’s entertainment culture, songwriting, music.
Cloie: Everything.
IZ: Yeah, everything.
Cloie: Even film.
IZ: Film, everything.
Cloie: And how it applies to now just the audio industry, but he talked about it in relation to the film industry and soundtracking and all of that sort of stuff. And he also, I think, had this great ability to… Because he’s been in the game forever. You know what I mean?
IZ: Yeah, he has.
Cloie: So he was able to pull from things that have happened, but in how he was talking he was also acknowledging how quickly the game is changing.
IZ: Yeah.
Cloie: You know what I mean? And that’s a lot of what you were saying, too, about what it used to be versus what it is now and how it’s important for artists to stay on top of their stuff, otherwise you lose everything.
IZ: Yeah, you get lost in the shuffle, too. And one of the things that he pointed out that I thought was really great, because this is something most people don’t go to right away, which was for those of you who are creating any type of content to seek out three of the main companies that do this for you and protect everything, which was BMI, ASCAP, and SESAC. Creators never really get that information right out the gate.
And I usually tell people right out the gate, “How are you protecting your creativity? Okay, you need to register ASAP with BMI, ASCAP, or SESAC because they do that.” And all you do is you take your work, you submit it, and you write down the splits, who did what, what the shares are, what the name of the song is, they give you pretty much an identification code for that song and they track that song. So if that song happens to get played in some little, tiny, hole-in-the-wall spot in Singapore, they can track that.
Cloie: And the story that he told specifically about splits and the Fugees.
IZ: Yeah. Right?
Cloie: Was it the Fugees he was talking about?
IZ: It was Lauryn Hill. Yeah, Lauryn Hill. Yeah. And her album and just those things.
Cloie: And how it got messy.
IZ: And how it got messy.
Cloie: [Inaudible 00:05:58]
IZ: Yeah, yeah. This is a great way to really address…really this is the hurting point of any creator, is really how you’re going to protect your body of work. So we encourage you to go get this book. Are we still running our discount code?
Cloie: Yeah.
IZ: Tell them about that.
Cloie: Put that graphic in, guys. You put in the student code “RECORDINGCONNECTION” and you’re getting 40% off of the list price. And you can check it out at backwingstore.com/11contracts. And this book regularly retails for \$50.
IZ: That’s not a bad deal then.
Cloie: That’s not a bad deal. This is hardcover.
IZ: Yeah.
Cloie: This is a real book. I don’t know if you’ve seen one of these before.
IZ: Yeah, make sure you go out there and get that because I definitely recommend it for anybody in this game to know what it is you’re getting ready to encounter.
Cloie: What it is, what it is.
IZ: So that’s always a good thing. So shout-out to my man Steve Gordon, it was great having him on the show last week. With that being said, Cloie, I’m going to let you go ahead and tackle this next one.
Cloie: I love it, I love a GRIND OPP. Hit it, guys. This is GRIND OPP #3 and it’s coming to you out of Youngstown, Ohio and it is for an A&R scout. All right, and it’s Youngstown. Yeah, I’m going to try that one more time. I get so excited. Youngstown record label seeks up-and-coming A&R scout. Jobs are finding talent with star potential on location or online, oversee the recording process from preproduction to final product, assist with marketing and promotion, report directly to the lead A&R, and perform any essential tasks as needed. And again, that is coming to you out of Youngstown, Ohio.
So now, IZ, I have all the questions for you.
IZ: Shoot them, honey.
Cloie: This sounds like a really big job for many reasons. One, just the scope of it, especially because there is so much talent online nowadays.
IZ: Right, right.
Cloie: Where do you even begin to find? This is also great for all of you up-and-coming people that are about, “How do I get my stuff up there.” So there’s that, but also the ability to have such an ear and to know what you’re looking for.
IZ: Right.
Cloie: Do you know what I’m saying?
IZ: Right.
Cloie: How does that happen? How do you tune your ear?
IZ: Well, I think one of the things I always like to encourage folks who are looking to pursue this avenue, which is A&R, is A&R you’re only able to really be a good A&R, a great A&R if you really know an array of music.
Cloie: Got it.
IZ: Right? Because you got to know an array of music and you got to know what talent looks like, you got to know those things. So when I look at this GRIND OPP that you’re introducing, the first thing that jumped out to me was, “Oh, this is A&R, let me do the homework for the A&R, let me be the A&R gofer.”
Cloie: Let me start with what is A&R?
IZ: Well, we call it ass and rest because a lot of the A&Rs I’ve worked with, all they do is come in the studio and just sit on the couch and order lobster. We call it ass and rest. So what an A&R is actually supposed to do is put the project together, get the right folks together, get the right songwriters, get the right producers. So what has happened is these A&Rs have gotten to a point where you don’t really have to do much work if you go get a Pharrell, you don’t have to do a whole lot of work if you go get a Timbaland because they are who they are. So you just show up to the studio. “Okay.” You bob your head, “That sounds great. Okay, cool.” And then you’re in the lounge ordering lobster. You know what I’m saying? But real A&Rs do exactly what you just said.
Cloie: Exactly, they’re a developmental component.
IZ: They develop, they bring in the talent, they put them with the right people, they put them with the right songwriters to complement their artistry. And really to do that you have to know what that looks like.
Cloie: That’s a big world.
IZ: That’s a big world. Now there have been great A&Rs like Mark Pitts, who I got to meet when we were doing the Confessions record. John McClain, who did a lot of stuff at Interscope with No Doubt, Blackstreet, Slum Village. You know what I’m saying? Those guys always kept their finger on the pulse.
Cloie: Yeah.
IZ: You know what I’m saying? They did the work.
Cloie: Yeah.
IZ: There was no, “Hey, man, I need you to go out here and look for this for me.”
Cloie: Right.
IZ: And that’s where the game is getting wack. You know what I’m saying? Because these cats aren’t really qualified.
Cloie: And not everybody is a Pharrell. So for the people that are going out there and looking to find… If your job is, “I need you to find the next Pharrell,” how do you do that if nowadays it’s like…
IZ: Yeah. Maybe not finding the next Pharrell, but maybe finding a talent that has the longevity of a Pharrell but has his own style. See, we’ve gotten into this thing where we’re just trying to reduplicate the next thing that’s working, right? “If that’s working, find me 10 of those.” That’s why we don’t have our modern-day Jimi Hendrix and Sly & the Family Stone, it’s because everybody is the pathway of least resistance.
Cloie: Like King Kong is being done again.
IZ: Right?
Cloie: Didn’t that monkey die?
IZ: Yeah, right? And that’s what’s crazy because you even see it in your industry.
Cloie: Yeah, all the time.
IZ: People are just reaching just for, “How can we reduplicate this thing?” And that’s why you look at the Netflix and all those things, like where they’re actually going out to the content creators like Adam Sandler and say, “You know what, Adam? Man, just come here and do your movies.” You know what I’m saying?
Cloie: “Please. Please and thank you.”
IZ: And I was just having this conversation, it’s like getting back to the point of empowering our creators again and not the bean counters. Because the bean counters just want, “Man, that’s working, that’s bringing in the numbers. Man, let’s go with that because it’s safe.” And we’re losing the creativity in the process of it. So I like to see the underdog companies like a Netflix, because they were once an underdog, they were almost on their way out, come in and empower the dudes that are creating the content.
Cloie: And to the point and how it trickles down on this side of it is that, as you call them, the bean counters, they don’t want to take a risk on a project, they definitely don’t want to take a risk on new talent. So you’ve got this whole array of work going to the same set of people, whereas people like Netflix and Amazon and Hulu, they’ve got no reason to be afraid. It’s like, “Great, let’s take a chance on this person. Let’s do this, that, and the other.” So I could just see how that plays in and is huge.
IZ: Yeah.
Cloie: And we thank you.
IZ: We thank you.
Cloie: We thank you.
IZ: So that’s my take on that. I think that is a great opportunity, I think that’s a very fun opportunity, with respect to the A&R scouting kind of thing.
Cloie: Like basketball.
IZ: Yeah, exactly. So I just always like to just really let our viewers know what it really is and what it really should be.
Cloie: Sure.
IZ: Anybody who’s ever thinking to get into the world of A&R, you have to really, really, really be a student of that, which is knowing your artists, knowing the music for the last 40 to 50 years, what the greats are, what they did, how they put it together. Because that’s essentially what you’re going to be doing, developing.
Cloie: “Good Lord willing and the creek don’t rise.” That’s what we used to say back home. “The good Lord willing and the creek don’t rise.”
IZ: So before we move on to the next GRIND OPP we always love to tell our student success stories. So go ahead.
Cloie: Yes. So this week this is Billy Gardella and he’s from Norwalk, Connecticut.
IZ: What up, Billy?
Cloie: Hey.
IZ: I love that background, that’s nice.
Cloie: I know, right? That’s Connecticut?
IZ: Right?
Cloie: Okay.
IZ: They got some flavor out there.
Cloie: Who knew? Wow. So here’s what’s going on with Billy. As soon as he graduated he was hired as an audio engineer at Factory Underground, which was his mentor studio. And now he’s been promoted to full-on staff engineer, but in an unlikely way. That’s a cliffhanger, guys. Of you were ever wondering what a cliffhanger was, that was it. So check out more and hear how he did it in this week’s weekly report. And the graphic is going to go at the bottom there at some point in time. Bam, there we go. Yeah, that’s our weekly report, check it out and find out exactly how Billy did what he did and how he’s making it rock. So shout-out to Billy.
IZ: Way to go, Bill.
Cloie: We honor you.
IZ: Keep it going, bro.
Cloie: We honor you. Now we can move into our next GRIND OPP.
IZ: Okay. Well, GRIND OPP #4 of the day.
Cloie: Is it four already?
IZ: Yeah, it’s four already, we’re moving fast.
Cloie: Wow.
IZ: GRIND OPP #4. This is an on-air personality in Jacksonville, Florida. Jacksonville radio station seeks on-air talent. Execution of daily on-air shows, operate the control room board, personal appearances at station/community events. Now this is two components to this job, because I noticed they said on-air talent and operating the board. So for me we just had the Baker Boys on a couple weeks ago, which was the perfect, perfect description of on-air talent and somebody who’s also dialing in the board, the technical aspect. So I think addressing the on-air personality side I think it’s one thing to really make sure that that’s who you are. What’s your personality like, your character, and your voice and all those things?
Cloie: Are you engaging?
IZ: Are you engaging, captivating people, keeping people dialed in and in tune with what it is you’ve got going on in your show? Just energy, you know what I’m saying?
Cloie: Yeah.
IZ: And then the other aspect is the technical aspect, which is knowing the console, knowing the board, knowing how all the gear operates.
Cloie: And also nowadays, too, social media because that’s the other part of that GRIND OPP.
IZ: That is and they did bring that up, yeah.
Cloie: The engagement on a daily basis across all social media. Talking is hard. Across all social media platforms.
IZ: Yeah.
Cloie: It’s real.
IZ: Yeah. So all those things have to kind of work simultaneously as far as what you’re bringing in that radio room.
Cloie: Absolutely.
IZ: The energy, the personality, the technical, and then the social.
Cloie: Absolutely. One of the things that the Baker Boys did say that’s interesting for jobs like these is that sometimes if the person is so much of a personality but can’t operate anything, they do have a person.
IZ: Yeah, a sidekick.
Cloie: But they don’t say that in this GRIND OPP, so I’m assuming they want one and done.
IZ: Yeah. They want you to be able to get in there. Yeah, absolutely.
Cloie: Yeah.
IZ: So again, that was in Jacksonville, Florida.
Cloie: Shout-out to Florida.
IZ: Yes.
Cloie: How far is Jacksonville from Disney? Do we know? Does anybody know?
IZ: Maybe a couple hours, I think. Like three hours, yeah.
Cloie: Oh, that’s far.
IZ: Yeah.
Cloie: Oh.
IZ: Moving on to GRIND OPP #5. Cloie, I’m going to let you have this one.
Cloie: Love it. Hit it, please, team. So GRIND OPP #5 is in Phoenix, Arizona and it is for a news editor. Arizona’s largest radio newsroom needs an assignment desk editor. Responsibilities are to generate story ideas, coordinate information and assign personnel as needed, compile daily daybook and file future daybook items, monitor public service agency scanners/social media for breaking stories. And this is coming to you out of Phoenix, Arizona.
IZ: This sounds like a great opportunity for Clark Kent.
Cloie: To pull off his shirt and fly out the window.
IZ: It sounds cool though, it sounds very cool.
Cloie: Wait a minute, Clark Kent was Superman or Spider-Man?
IZ: He was Superman.
Cloie: Superman.
IZ: Yeah. Telephone booth, get in, get out. That actually sounds cool though, I don’t know if we’ve had many of those type of GRIND OPPs.
Cloie: No. A radio news editor. To clarify for those of you that may be don’t know what a daybook is, it’s kind of like your agenda, but more for everything that’s happening locally, like big stuff, or in the world, stuff that we want to cover on a day. And maintaining it. Oh, if you saw The Devil Wears Prada… Which I don’t know if you saw, but go with me. If you saw The Devil Wears Prada, the part about “the book” and Andy was responsible for keeping it when it was a huge, huge job, that’s like that. That’s like your Bible, but for whatever is happening in the world and surrounding areas of Phoenix, Arizona in this case.
IZ: Cool. All right. So I think, with that being said, I think that’s a great moment for us to mention to these folks, again, send in your résumé and your cover letter. And if you have a sizzle reel, because we do have a variety of GRIND OPPs that do come in, ranging from content, where you’re going to need to show your editing skills and various things like that.
So there you go, there’s our link. And we have a team that can kind of just help you build this out so that it best reflects you. And the goal is to get you hired.
Cloie: Absolutely.
IZ: That’s really at the end, is to get you hired.
Cloie: And the world wants to know who you are, so let’s tell the world who you are. Am I right?
IZ: You are right.
Cloie: I love it. I love it. So, oh, guys, for those of you just tuning in, make sure you’re getting your questions in because we do have our Q&A coming up very soon.
IZ: Shortly, yeah, very soon.
Cloie: But before we do we have another School of Hard Knocks video. We haven’t had it in a couple weeks because, guys, I don’t know if you’ve tuned in, but we’ve been busy in these shows. Lots of things moving and shaking, so we haven’t had our School of Hard Knocks. But this week’s installation is super amazing because it’s all about paying your dues and what it means and how long do you have to do it. So without any further ado, let’s roll it.
IZ: 25 years of making music and being in the tech world, what I’ve learned is I’m still paying my dues. I’m still having to outwork people, I’m still having to show my skin in the game. And it’s one of those things where it never stops, you constantly have to prove yourself, you constantly have to be in the mindset of just really showing your worth and showing what you’re capable of. Which is a good thing, that’s why a lot of cats who have been in the business for X amount of years are bitter or may be angry because they are still paying their dues.
But for me I think that’s a huge part of what keeps me going, is that I have to continue to pay my dues, I have to continue to be competitive. But if nothing is pushing you, if nothing is driving you, if you don’t have that sense of fire under you, then your passion slowly but surely begins to fade and die because you need the spark, you need to consistently stay feeding that appetite for a win or to be shown that you’re fit for this job or you’re approved. And you never stop paying. And it’s not for everybody. Some people do burn out and, like I said, become bitter and angry. But it’s a space for a few and you have to willing to continue to press and move forward.
Cloie: Here, here. I second all of that. Paying your dues is real. And you’re right, it doesn’t end until it ends.
IZ: You’re right, it doesn’t. And you just keep going, you keep going, and then you get to a point where you’re not even fazed by it anymore. And you get to a point where your work kind of does the explaining for you.
Cloie: Yes.
IZ: And that ultimately becomes your golden reference. It’s like, “Okay, yeah, it’s cool. But, hey, man, this is what I’ve done. Hey, you want to use me, not, cool, whatever, but I’m off to the next thing already.”
Cloie: “And I’m not losing any sleep.”
IZ: Not losing any sleep.
Cloie: Yeah, absolutely. So paying your dues, yeah. Yeah, it’s a real thing. And, as you say, it is not for everybody. And if you automatically wake up and think that you have arrived, well, then I guess you have and that’s the end of your journey.
IZ: Right, yeah, exactly.
Cloie: You can die now.
IZ: Yeah, you can die now, nails in the coffin. So, guys, that was our School of Hard Knocks, and we also introduced five GRIND OPPs, but we also have an additional five GRIND OPPs on our Connected site. So that is www.rrfedu.com/connected where you will find these GRIND OPPs.
Cloie: Coming to you out of Philadelphia, we got radio on-air talent and board operator. Also in Radio, in Bakersfield, California, sound operator. So this is in Salt Lake City. Guys, I have the giggles, I’m so sorry. Salt Lake City, Utah, as a studio camera tech. In the field of recording, also in L.A., a music administrator. And from culinary, a pastry prep chef in Napa, California. Shout-out to all that wine. I am.
IZ: GRIND OPP #10 sounds pretty good. Napa?
Cloie: Doesn’t it?
IZ: I’m trying to get out to Napa and just hang out for a second.
Cloie: I love some wine and some dessert.
IZ: Me and you are going to Napa.
Cloie: Make it happen.
IZ: We’ll make it happen.
Cloie: Listen, Connected at Napa with a nice Bordeaux perhaps.
IZ: Yeah.
Cloie: Show we move into our Q&A?
IZ: Let’s move into our Q&A, I feel like we got some good questions that are bubbling right now that we can get to.
Cloie: Bubbling like gas after Thanksgiving. I love it, percolate. So we have a question from Chance, Chance is in Yonkers, New York. Shout-out to the Yonkers. Chance wants to know, “Is it true that PAing in film is hard?” To do or to find? It’s hard work. It’s grunt work, for sure. And you will get your hands and other parts dirty. So if you’re looking for an easy job, that’s not the one. So I hope that answers your question, Chance. I feel like I need to say more. Is it hard? Yes. Sometimes in some jobs harder than others, but it’s not easy. The end.
We got Bridget from Atlanta. “How do you get used to acting in front of the camera?” Well, Bridget, I think that there’s a lot of ways to answer that question, but just doing it is probably the simple answer. Which also sounds flippant, and I don’t mean for it to sound that way, but that’s the only way. Are you an actor? Let’s start there. If you are an actor, let us know. But it’s sometimes hard for camera actors to transition to the stage because it’s hard to bring it bigger. But oftentimes if you are a stage actor, all you got to do is think the thoughts as opposed to showing the world.
So I’m not sure where you’re coming from in terms of your acting journey, but of course class always helps, there’s lots of on-camera acting classes. And also just being in front of the camera, and be it just having someone take photos of you or filming yourself. Yeah, that’s a big question. If you want to pop in some more specifics, I can maybe answer it in a more specific way. But thank you.
IZ: Okay. We have Jaylin from Boston who has a question, but I got an idea.
Cloie: I’m sure you do.
IZ: Before we answer these questions I’m now going to ask them a question. Which is are you following us? Are you following us, Jaylin? Because I’m getting ready to answer your question. But if you ain’t following us, I don’t know if I should answer your question. You all right?
Cloie: Jaylin, are you? And so that means Bridget and Chance, are you guys following us?
IZ: Yeah. @IZCONNECTED, you see it.
Cloie: We have a team that can check it out, too.
IZ: If you are, I’m going to give you a pass, Jaylin. I’m going to ask your question and I’m going to answer it. “What’s the easiest way to let someone down when you don’t want to work with him but know you will be seeing him around work in music?” I think there’s a way to do it. Being that you said “in music,” I know for me what I like to ask myself, “Is there anything I can contribute to this person that I’m going to work with? Is there anything I bring to the table? Is there anything they bring to the table?” I think a great way to start that conversation is just to really be like, “Based upon what I’m looking to do and what you do,” and whether it’s your style or whatever. I think you start that conversation by identifying where the value is and if there’s anything you can bring.
And sometimes there’s nothing you can do for folks sometimes. You can look at an artist and say, “You know what? I respect and appreciate your artistry, but I just don’t see how anything I do will complement what it is you do.” And those are always great angles to infuse into those type of decisions.
Cloie: Sure.
IZ: It’s never about saying, “You know what? No, I don’t want to work with you.” You never want to do that. You just kind of want to present the situation like you acknowledge what it is they do and you also acknowledge what it is you do. And if there’s chemistry, there’s chemistry. If there’s not, there’s not. But you have to understand the best way to tell that story.
Cloie: Sure. Well, because the other thing I imagine is, too, just because maybe you’re not meshing right now or they’re not of service to you right now and vice versa, but later on you don’t know, right? That’s my thought. That’s my co-sign on that.
IZ: So that’s my view on that question.
Cloie: Oh wait, can we pop back to Bridget from Atlanta for one second? Because she clarified. Thank you. Bridget is a stage actor. Mama, you got it, you just need to take that and let it translate and you just have to get in front of the camera more. Make your own stuff so that you can get used to… And I would also encourage enrolling in an on-camera class where you can see what you look like, because that’s also a part of it. But yeah, it’s way easier for a stage actor to bring it down. Just think the thoughts.
IZ: We have Trevor from Seattle, Washington, “For working with hip-hop artists where do you go in L.A.? I want to know where to go when I come to L.A. next month. Thanks.” Oh, there’s a lot of places in L.A. The best thing I would tell you, man, is, man, get on your Google and find out the spots that are going Monday through Friday, venues. There’s a lot of open mics, live stuff. It’s surprising to me. Not so much the questions, but just the back end of the questions. Because I feel like when everything we have within our reach, whether it’s social or Google, it’s not really that hard. So I think when it comes to those kind of things, it’s like, man, type in “hip-hop venues in L.A.,” “open mics in L.A.” Just get proactive, man. Come one, you’ve got it.
Cloie: And also I feel like because people live their lives in such an online sort of way, like an easily accessible sort of way, if you find an artist that you like at these things, I’m imagining it would be easy for you to get in touch with them.
IZ: Yeah. And also, too, another great way to find these spots is find all the record shops.
Cloie: Sure.
IZ: Because record shops always have event flyers at the counter, the register, and they pretty much know within those areas where things are happening. So it’s a great way to find if you’re looking for just a hip-hop environment, hit the record spots. There’s Amoeba on Sunset, a couple other record spots.
Cloie: Let me tell you I was at Amoeba on, I don’t remember what day it was but it’s in my social media, and Amoeba warmed my heart because I’ve been wanting the Jack White acoustic record and I got that. If you follow me at @alwayscloie, you’ll see what they put up. They have a sign that says, “We at Amoeba welcome all.” What does it say? “We welcome all races, religions, genders, orientations, countries of origin. We stand with you, all of you are safe here.” So shout-out to Amoeba.
IZ: I love that.
Cloie: Right? Isn’t that beautiful? Yeah. If you want an image, @alwayscloie, that’s my social whatever. What’s that thing called?
IZ: Handle? Yeah.
Cloie: Thank you.
IZ: We have Derek from Boston, “I’m 34, getting older, but really want to work in audio. Am I too old?” No, you are not. You are definitely not too old. And nobody is too old, man. Yeah, man, come on. Guys got to go, man. It’s out there for you to get, man, just go for it.
Cloie: Yeah.
IZ: I think that’s a thing of the past, “Am I too old?,” or, “Is it too late?” Man, it’s never too late, especially when it’s dealing with your passion or your dreams. Man, just go for it. And if you need some type of framework or assistance, that’s what we’re here for and you can definitely reach out to us. If we can kick up our e-mail link for those of you who are looking to take things a little further and want to get some information or advice, there’s where you can e-mail us. All right?
Cloie: We got Dan B. from San Antonio, Texas, “As a career can you do both audio for music and sound for film?”
IZ: Yeah, actually you can.
Cloie: Because songs get used for film all the time, so I imagine there’s actual…
IZ: Yeah, there’s film scoring, which leans more towards how you would work with an artist.
Cloie: Right.
IZ: So you look at a visual, and then you get a vibe from that visual, and then you create to kind of bring that moment or that time to life. And the flip side, you work with an artist, you take in who they are as an artist and what they speak to, and then you complement that. Then there is the sound effects side, which is extremely different.
Cloie: Yeah.
IZ: Where you’re creating sounds and those kind of things. But yes, you can absolutely do both. You can definitely do both.
Cloie: I love that. Another Texas, Rick from Houston, “I want to work as a songwriter, but also want to sing my own songs. Which is the smartest thing to focus on first? I am folk rock.” Shout-out to some folk rock, not mad.
IZ: Well, I think if you’re a songwriter, I think that’s just a natural progression. If you’re a songwriter, you’re already writing the songs and they’re your songs. Sing them. To me that works simultaneously, too. It’s not so much of a thing, “Well, what do I di first?” You just take what you do and sing it.
Cloie: And it’s also, I imagine, a different thing when you’re singing your own things. Because, yeah, somebody else can sing it and can sound beautiful, but you’ve got the story behind whatever inspired you.
IZ: Yeah. And then if you’ve got great songs, it’s even better that you sing them if your songs are really good. And I think, too, it comes down to are you looking to be an artist, those kind of things. But yeah, I would say, man, absolutely, go for it. Sing your songs, there’s nothing wrong with that.
Cloie: What is this? We got Alan from Peekskill, New York. Shout-out, Peekskill. What’s up? Hustling in New York. “I got too much energy when I write themes, hard to slow my thoughts down. Suggestions, Cloie?” To slow your thoughts down? I don’t think that there’s a problem with too much energy. It sounds like it might be a situation with where… I wonder if you have a board or something where you can write all of the ideas. Like back in the day you’d write the bubble and the word and the little things that would come off of it so that you’re getting your ideas out there.
But then having to give yourself maybe even an hour to take one of those things and put all of your energy and focus on it, whatever that idea is. And if something more than hour comes out of that, great. But I would say maybe compartmentalize ideas, like, “Today I want to focus on this, that, and that idea.”
IZ: Right.
Cloie: And then only focus on those. But it sounds like enthusiasm, you’ve got you’re enthusiastic and your passion, but I’m not a doctor so I can’t say how to slow your thoughts down in that regard. Are you an Aquarius? I get it. Tell me if that was helpful, Alan. Because I can go into more thoughts and whatever, but yeah.
IZ: Okay. Which was is next?
Cloie: I think it’s Mila.
IZ: Mila from Brooklyn, “I want to work in radio and spread wisdom to homegirls today. How do I position myself to get noticed?”
Cloie: How do you want to work in radio, Mila? Are you thinking like an on-air personality? I’m assuming so. Or are you thinking more on the back end sort of it?
IZ: Well, yeah, even before that, do you have any experience? Do you have any type of traditional education for that? I think those are the first things I like to know because then it would help me understand where you’re coming from and what your angle is going to be. Because to me it just looks like you’re just now jumping into radio and your goal is to spread wisdom to your homegirls. So there’s a process, I kind of need to have a better idea of how far you’ve gotten in the process to best answer your question.
Cloie: No experience, she wants to be on the radio. She wants to be on the radio, on-air personality on the radio, but no prior experience.
IZ: Okay.
Cloie: Got it, got it, got it.
IZ: Even at that I don’t know because you’re talking about being a personality and I don’t know if you have a personality, I don’t know what your thing is. I know we just had the Baker Boys on two weeks ago who pretty much were pioneers in L.A. radio and talked about the importance of a personality and being able to keep people engaged and captivated, and then being able to work the board and work turntables.
Cloie: I wonder if she could reach out to whatever her local stations are and see about interning to see what that world is. Because being in it with no experience, you might not even like it.
IZ: Yeah. Or she could actually reach out to us because I know we do have mentors in that field. So definitely shoot us an e-mail so we can kind of dive through this a little more with you. Okay? Our e-mail, if you’re watching right now. You can catch our e-mail here.
Cloie: Because we at Connected.
IZ: So send that over and let us try to work through that with you in regards to what you would like to do in radio.
Cloie: What else we got?
IZ: Suki from Arcadia is working in TV, very different from working in film, thinking about doing set design.
Cloie: Sure. Yes, it is. I think that the biggest notable difference in the realm of set design or something like that is time. Because when you are working on a film, you are generally graced with one to three months, sometimes even longer. Whereas with television, depending on you’re working on a one-hour or a half-hour, because those are two totally different beasts, too. They work quickly because you got to do everything pretty much within a week, and that’s from preproduction to shooting. Sometimes maybe a week and a half to two. But, again, it’s all time, it’s a much more condensed version.
But in terms of work and execution it’s all similar. When you also talk about set design, you’re talking about are you in a studio or are you on location. Those are all very important factors to keep in mind, but I think the main one is time. “I give you time.” I don’t give you time, I can’t give you anything, except knowledge and inspiration, boo.
IZ: Yes. So last one for the day is Jane Marie from somewhere in U.S.A., “Trying to build directing reel through doing music videos, but most people don’t have budgets or expect you to do all the jobs as one person on the low. How do you find artists willing and able to pay?”
Cloie: Connected app.
IZ: Connected app. Man, so true.
Cloie: It’s true, actually.
IZ: And even with the whole paying aspect, yes, I totally agree with you. It’s hard to find people that can pay, but at the same time a lot of them are kind of starting from the same place you’re starting from.
Cloie: And music videos are different now than what they were back in the day when there was Jukebox.
IZ: Yeah. And you got to understand though even with music videos there’s no financial return on a music video, that’s a marketing tool. All it does is create awareness, but there’s no dollar that’s attached to that that’s going to come back.
Cloie: Yeah.
IZ: So it’s just different now. Finding artists willing to pay, you got to understand that a lot of these artists are in their growing stages and they’re just trying to attach themselves to anything possible that can put a spotlight on their artistry. So a lot of them don’t have that money, a lot of them don’t have budgets. And I think if that’s the thing that is going to kind of allow you to engage, then I think you should start focusing on artists that are signed to labels that are established. And then you’ll find even at that level that’s hard to get to. So you kind of got to take on both worlds together so that if one ain’t popping over here, you at least got a relationship over here that can funnel you work. But those are all very, very important things to think about. Let’s see here.
Cloie: Did you have Jukebox out here back in the day?
IZ: Yeah, we did.
Cloie: You did? Yeah. Shout-out to those of you that are just coming up in the ranks, Jukebox was this thing where if you didn’t want to pay you would sit in front of the TV all day and wait for a music video to come on. But sometimes, like if it was your birthday or whatever, your mother would let you call the number and she’d pay money so that you could get your music video played, and so then you’d only have to wait like three hours before it was played.
IZ: Right. Okay, well, I’m going to do one more last question.
Cloie: Yeah.
IZ: Mark from Sacramento, “No one says ‘roadie’ anymore, what job listings should I look for to help with live sound on the road? I want to help load.” That now would be like a tech, a road tech. Let me see, where are you? You’re in Sacramento? I know for us who are here in Cali and Los Angeles there’s a couple venues, like CenterStaging, SIR, who that’s pretty much where you would go to look for a job like this, you would hit those kind of companies. Any company that has rental gear, stage and lighting, find out those types of companies that are within your area because those are the places you’re going to be able to find that kind of gig. And what ends up happening is you get people who come through these places, rehearse, and they need to find people to take on the road. That’s where they find them.
So “roadie” is now “road tech.”
Cloie: And those jobs come through our GRIND OPPs, too.
IZ: Yes, absolutely. Absolutely.
Cloie: Oh, for sure they do. The last one was not too long ago, but I can remember there was a point in time a few months back where we had a bunch of them.
IZ: Right, yeah.
Cloie: I remember that.
IZ: I like your sound effects.
Cloie: Guys, I’m a walking cartoon character, you don’t even know.
IZ: So again, I want to encourage even all our folks that shot us these questions make sure you’re following us, okay? Because we want to start to put the accountability back into your lap because we want to see how proactive you are, especially when using our IZconnected Facebook app.
Cloie: Yeah.
IZ: And there you have it, @IZCONNECTED across the board, Twitter, Facebook, and Instagram.
Cloie: Because that’s where we are. Guys, I think this is a perfect opportunity to just roll our social media slides for those of you who are visual learners.
IZ: Bam, show it to then, give it to them.
Cloie: Hit that graphic. Bam, that’s number one. Again, in case you’ve forgotten, we are @IZCONNECTED, that is I-Z-CONNECTED. To e-mail us you want to hit us at [email protected], that’s where we’re going to get all of your detail questions, your résumés, all that good stuff so we can check it out. Sign up for us at Connected, that’s rrfedu.com/connected. Of course there is our messenger app, it’s bridging that gap between techs and artists. rrfedu.com/connected/app.
Roll that second slide, please. Again, we’re at @IZCONNECTED. To apply for our jobs, remember we have those five that we announced, but we also have an additional five jobs that are only listed on our website. And that is rrfedu.com/connected/latest. For resources check out rrfedu.com/connected/vault. And of course there’s our newsletter, check it out a little bit later on to see how Billy Gardella did what he did. And that’s going to be at rrfedu.com/weekly-report.
IZ: Bam, and there you have it. So that concludes today’s show. Shout-out to our Connected team, Howie, Leah, Mike.
Cloie: Michael.
IZ: Jay, Michael.
Cloie: Brian.
IZ: Brian.
Cloie: Everybody.
IZ: Everybody.
Cloie: Jimmy.
IZ: Jimmy, yes. What up, Jimmy? So yeah. Also, too, I would encourage any of our viewers who are looking to pursue careers in the fields of radio, film, recording, engineering, definitely check out rrfc.com, okay? That’s where you’ll find all the info. And we look forward to seeing you next week. Again, we will be at the house of Roland next week hanging out, got some special guests for you. So make sure you tune in next week. Other than that, get on your grind because today is Monday. And go out there and make it happen.
Cloie: Love it.
IZ: All right? I love you, Cloie.
Cloie: You, too.
IZ: Yeah, right, mutual love. All right, guys, been a pleasure.
Cloie: Get your grind on.
IZ: We out.
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