Darryl Hall

The core idea in this email is not new but that’s exactly the point

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As I sit down to write you this email, an old pop song, the Smiths’ How Soon is Now, is playing loudly in my head.

That’s because earlier this morning, I read about a new AI project, called Stable Attribution.

The point of Stable Attribution is to try to figure out which human-created images were used to train which AI-generated images.

The motivation, according to the Stable Attribution site, is that artists deserve to “be assigned credit when their works are used, and to be compensated for their work.”

That’s a waste of time, if you ask me, and a focus on totally the wrong thing.

A few days ago, a friend sent me an article about guitarist Johnny Marr.

Marr took a few different songs and sounds — most notably Bo Didley and a rap song called You’ve Gotta Believe – and co-opted them. The result was How Soon is Now, which became the most unique and enduring of Smiths’ songs.

Michael Jackson once ran into Darryl Hall in a recording studio. Jackson admitted that, years earlier, he had swiped the famous bass line for Billie Jean from Hall & Oates’s I Can’t Go For That.

Hall shrugged. He told Jackson that he himself had lifted that bass line from another song, and that it was “something we all do.”

Artists and songwriters co-opt and plagiarize all the time. It’s only in exceptional cases that we find out about it.

But this isn’t a newsletter about drawings or pop songs. It’s a newsletter about business, and marketing, and copywriting.

So let me tell you I once heard A-list copywriter Parris Lampropoulos on the David Garfinkel podcast.

Parris pointed out how a subhead from one of his million-dollar sales letters was the headline of an earlier control sales letter he didn’t write. That earlier headline worked, and Parris knew that. So he co-opted it, or if you like, plagiarized.

Marketer Dan Kennedy once talked about Bill Phillips, the body builder and fitness coach who built an info product empire.

Dan said Phillips is a pack rat who can pull out fitness ads and promos going back a hundred years. Knowing the history of his industry — and co-opting or plagiarizing it regularly — was a big part of the success Phillips had.

Even the core idea of my email today, of plagiarizing for long-term business success, isn’t new. I got it from James Altucher, who got it from Steven Pressfield. Who knows where Pressfield first heard it.

Fortunately, there is no Stable Attribution for human work. Nor should there be.

So my advice for you is to go back. Study what came before you, and what worked. Integrate it into your own work.

Give attribution if you like, or don’t.

Either way, it’s sure to make you more creative, and more successful at what you do.

And if your work happens to be copywriting, selling, or more broadly persuasive communication, then take a look at my Copy Riddles program.

Copy Riddles will show you the work of some of the most successful copywriters in history, Parris Lampropoulos above among them. But not only that.

Copy Riddles will get you practicing the same, so you can co-opt the skills of these effective communicators and make them your own.

Maybe you’re curious about how that might work. If so, you can read more about Copy Riddles, and buy the program if you like, at the link below:

https://bejakovic.com/cr/

Use the Force to avoid copy that’s too long

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A long, long time ago, in a galaxy that’s pretty much the one we live in, I was wasting time doing “research” (ie. not writing when I should have been). But at least I discovered the following curious fact:

George Lucas’s early drafts for the Star Wars script talked about “the Force of Others.”

These early drafts gave detailed explanations of what the Force of Others was, how it tied into a “Kyber crystal,” and how there was a “Bogan” side and an “Ashla” side of it.

Following his better instincts, Lucas stripped out all the explaining in the final draft. He got rid of the crystal and the Bogan nonsense, and dropped “the Others” and simply called it “the Force.” Star Wars went on to become a pretty, pretty big hit.

There’s a copywriting lesson here. But first, here’s another illustration:

Back in 1982, Darryl Hall was writing the prototype of a song called Maneater. He was stumbling on the last line of the chorus. “Oh here she comes… She’s a maneater and a …”

Hall can’t remember the original final line, because his girlfriend told him to “drop that shit at the end.” So he did. Maneater went to the top of the charts ​and stayed there longer than any other Hall & Oates song. Hall said that cutting down the last line made all the difference.

Conventional direct response wisdom says that longer copy outperforms shorter copy. It’s been proven over and over in many tests.

Copywriter Victor Schwab, who wrote How to Write a Good Advertisement, definitely supported the use of longer copy. But Schwab also wrote the following:

“Some ads don’t need much factual under-pinning… The copy about some products can soar successfully — without ‘coming a cropper.’ An abundance of factual material merely inhibits its flight. If too explicit about the “why” and “hows,” such copy pulls the reader’s imagination up short.” ​​

I can’t give you a recipe for when you should take out the “whys” and “hows” of your copy. I think it’s a matter of having a good feel for your market and your product, and knowing what they need to hear — and what not — in order to make the sale.

In other words, trust your intuition. Or use the Force. The Bogan Force. Of Others. And stop yourself if you say too much.

I should have stopped there. But I have one final thing to say. I write a daily email newsletter. If you’d like to get my emails, much like what you just read, you can sign up here.

A crazy and messed up way to end an email

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Some time in 1981, future “Songwriters Hall of Fame” member Darryl Hall was sitting at the piano in his Greenwich Village apartment.

His girlfriend Sara was in the kitchen peeling a hard-boiled egg.

Hall had a pencil in his mouth. He played a chord on the piano. He took the pencil and scribbled down a few words on a piece of paper.

Oh here she comes… She’s a maneater… and a commitmentphobe.

“Terrible!” Hall said. He crumpled up the paper and threw it on the floor.

Sara walked into the living room. She swallowed the first half of her hard-boiled egg. “What’s up?” she asked.

“So frustrating,” Hall said. “This new Maneater thing. I have the intro. ‘She’s sitting with you but her eyes are on the door.’ Right? A little story. Everybody can picture that.”

Sara stuffed the other half of the egg in her mouth. She raised her eyebrows to indicate to Hall to keep going.

“But then I get to the chorus,” Hall said. “It’s really the payload of the song. It’s what I want the listener to take away. But I can’t find a good way to wrap it up. ‘She’s a maneater and a… dirty nasty bitch? A cruel seductive girl? A womanhater?’ I can’t figure out how to end it with something people haven’t heard before.”

Sara finished chewing the egg and swallowed. She walked to the crumpled-up paper, picked it up off the floor, and looked over the lyrics.

“Drop that shit at the end,” she said. “Go, ‘She’s a maneater.’ And stop.”

Hall frowned. Then he really frowned. “You’re crazy.” he said. “That’s messed up.”

Sara rolled her eyes and walked back to the kitchen. Hall stared at the piano. He closed his eyes. He played a few notes. And he started to nod his head.

In the end, Darryl Hall dropped the shit at the end, as per his girlfriend’s advice. Hall & Oates recorded the song a few days later.

Maneater became a number one hit on the Billboard Hot 100 chart on December 18, 1982. Out of the five number one hits that Hall & Oates had in their career, Maneater became the one that stayed at no. 1 the longest. Going by the 172 million views the song has on YouTube, it remains their biggest hit today.

“I thought about it,” Hall said once when speaking about Maneater and about his girlfriend’s suggestion. “I realized she was right. And it made all the difference.”

Use the Force to avoid copy that’s too long

by

George Lucas’s early drafts for the Star Wars script talked about “the Force of Others.”

These early drafts gave detailed explanations of what the Force of Others was, how it tied into a “Kyber crystal,” and how there was a “Bogan” side and an “Ashla” side of it.

Following his better instincts, Lucas stripped out all the explaining in the final draft. He got rid of the crystal and the Bogan nonsense, and dropped “the Others” and simply called it “the Force.” Star Wars went on to become a pretty, pretty big hit.

There’s a copywriting lesson here. But first, here’s another illustration:

Back in 1982, Darryl Hall was writing the prototype of a song called Maneater. He was stumbling on the last line of the chorus. “Oh here she comes… She’s a maneater and a …”

Hall can’t remember the original final line, because his girlfriend told him to “drop that shit at the end.” So he did. Maneater went to the top of the charts ​and stayed there longer than any other Hall & Oates song. Hall said that cutting down the last line made all the difference.

Conventional direct response wisdom says that longer copy outperforms shorter copy. It’s been proven over and over in many tests.

Copywriter Victor Schwab, who wrote How to Write a Good Advertisement, definitely supported the use of longer copy. But Schwab also wrote the following:

“Some ads don’t need much factual under-pinning… The copy about some products can soar successfully — without ‘coming a cropper.’ An abundance of factual material merely inhibits its flight. If too explicit about the “why” and “hows,” such copy pulls the reader’s imagination up short.” ​​

I can’t give you a recipe for when you should take out the “whys” and “hows” of your copy. I think it’s a matter of having a good feel for your market and your product, and knowing what they need to hear — and what not — in order to make the sale.

In other words, trust your intuition. Or use the Force. The Bogan Force. Of Others. And stop yourself if you say too much.

I should have stopped there. But I have one final thing to say. I write a daily email newsletter. If you’d like to get my emails, much like what you just read, you can sign up here.