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Write every day, even if it’s terrible | Think Like A Musician - Video học tiếng Anh
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Write every day, even if it’s terrible | Think Like A Musician
Write every day, even if it’s terrible | Think Like A Musician
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0:00
One of my classmates, he was able to get me a meeting with the big boss—
0:06
Lyor Cohen.
0:07
I took a Megabus from D.C. to New York.
0:10
We sit down and I played him a verse chorus of one song.
0:16
And then I started to play the beginning of a second song,
0:20
and he cut me off, and he was like, “why am I here?”
0:24
And I was like, “to hear my music?”
0:26
He was like, “no, I mean, this is a waste of my time. You’re not ready yet.”
0:31
And he got up and he left the meeting.
0:33
I got literally two minutes with him and it was over.
0:39
Hey, you! Yes, you. Is there music inside of you?
0:43
We’ve recruited working musicians from throughout the industry
0:46
to help you hear it, hold it, and share it with this wild and wonderful world.
0:53
Hi, my name is Daniel Breland.
0:55
I professionally go by Breland.
0:58
I am a singer, songwriter, and producer originally from New Jersey.
1:04
I live in Nashville and the genres that I usually play in
1:09
are country music, R&B, hip hop, gospel.
1:14
That day with Lyor Cohen, I got back on the Megabus and went back to D.C.,
1:20
and I was devastated for a good week because I was like,
1:24
I’m 19, I’ve been making music for five years,
1:26
I got a meeting with the guy that’s supposed to be The Guy,
1:29
and he said it wasn’t it, you know?
1:32
And so I’m just trying to figure out what my next steps should be.
1:36
I decided to double down and I ended up buying some equipment.
1:42
And I was like, look, I’m going to write and record a song every day
1:46
until I get better.
1:48
And so from from that day, in October of 2014,
1:53
for the next year, I wrote and recorded a good 365 songs.
1:59
And the following year, the songs had definitely gotten marginally better.
2:04
And so I said, okay, well, this next year, now my junior year,
2:08
I said I’m going to write and record two songs a day.
2:11
Now, at this point, I’m pretty much barely going to class.
2:14
Now I've got two songs a day.
2:16
So now halfway into that second year,
2:18
I've got 700 plus songs and nobody to really listen to any of them.
2:24
And so I started reaching out, kind of cold-calling people in the industry—
2:29
songwriters, producers, managers, A&Rs, artists, friends.
2:34
I mean, they received an email, a DM, a tweet.
2:38
I might have written a couple handwritten letters if there was an address
2:42
to a record label.
2:43
And literally just trying to reach out to as many people I could
2:47
to see if I could get any feedback.
2:49
Really, that was the year that I made the biggest jump,
2:52
because I started getting feedback where I was like, okay, cool—
2:56
there are people in the industry that have given me some insight
2:59
on how songs are actually written and where I’m falling short.
3:05
Writer’s block is real.
3:07
You know, inspiration can strike at any moment,
3:10
but you can also lose inspiration on something in any moment.
3:14
And I think that’s okay.
3:16
Because I’ve written so many songs, and because I was so dedicated
3:22
for all of those years that I was writing songs every day,
3:27
and no one was hearing any of them,
3:29
I understand that there are songs that people are never going to hear.
3:33
And so I’m not afraid to step away from a song entirely
3:38
and say, hey, if it’s not happening for this song on this day, that’s okay.
3:44
I think the right way to produce a song is to listen to the song
3:48
and give the song what it needs, you know?
3:52
And that requires a level of— a level of humility.
3:56
You may think, okay, well, this is what it needs to do because I’ve done this before
4:00
and I know that that works.
4:01
But sometimes it's being able to say, hey,
4:04
maybe it’s something that I’ve never thought of before,
4:06
and maybe it’s something that’s going to come to me in its own time.
4:09
And you can't rush the creative process.
4:11
A lot of times you literally have to step back from it and say,
4:16
how can I be in service to the song?
4:20
For me, stepping back to gain perspective on a song,
4:25
it can come in a few different ways.
4:27
Sometimes it’s me listening to a song a bunch,
4:29
and sometimes it’s me not listening to the song at all;
4:32
literally letting it sit for a few days or a week,
4:36
working on some other music and then coming back to it.
4:40
You know, sometimes it's playing the song around other people.
4:43
It's not an exact science.
4:45
Part of it is just being receptive
4:47
to the fact that it might look totally different on one song
4:51
than it does on another song.
4:52
You might get to that finished product the day that you write it,
4:56
and then there's other songs that might take you months or even years.
4:59
And I don’t think either of those is wrong.
5:01
It just literally depends on how it comes to you
5:04
and where your inspiration arrives from.
5:06
For me, it’s just recognizing that it’s not always going to go
5:09
exactly the way I want.
5:11
And that even those “dud songs,” are the ones that don’t get finished,
5:17
you know, they still help inform the way that I write songs in the future.
5:21
And I think it’s those great songs that you end up getting,
5:25
oftentimes you would not get those songs if it weren't for the songs
5:28
that you feel like you missed or that you didn’t get it.
5:31
And so just trying to continue to encourage yourself
5:34
and not get too down on yourself
5:35
because something isn’t going at the speed that you want
5:38
or coming together in quite the way that you want.
5:42
You will eventually get to the songs that you really want
5:46
if you just continue to work on it.
