Elvis Presley

“Good-bye, please don’t cry”: Dan Kennedy and Dolly Parton enforce the rules

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“I cried all night,” Dolly said, “cause I just pictured Elvis singing it.”

Back in 1974, Dolly Parton had a no. 1 hit with a song she’d written, I Will Always Love You. And a year later, she got word that the king himself, Elvis, wanted to record the song.

“I was so excited,” Dolly said.

And then, the night before the recording session was supposed to happen, Elvis’s manager, Colonel Tom Parker, told Dolly the deal.

“Elvis don’t record nothing unless we get the publishing rights or at least 50%.”

Dolly cried all night. But she said no. It was her song and it didn’t feel right giving away the rights to it.

​​In the end, Dolly made out all right. I Will Always Love You became a giant hit for Whitney Houston in 1995, and Dolly got over $10 million in royalties — in the 90s alone.

But most songwriters aren’t like Dolly. They give in. And apparently, this kind of thing is a dirty little secret of the music world, according to an article I read in Variety today.

Big stars routinely get songwriting credit — including publishing royalties — for songs they didn’t write or even help write.

But now, a bunch of songwriters are pushing back.

They find it outrageous that they are forced to share a part of their creative ownership with people who were not involved in the creation in any way.

It sounds like a perfectly legit complaint against a perfectly outrageous practice.

But it goes industry to industry, doesn’t it?

Take copywriting.

It’s standard that you write something and hand over all the control to the client.

In fact, if you’re very good and you manage to claw your way to the top, then you can hope to hand over all control of your copy in exchange for a few percent of the revenue it generates.

But it don’t have to be like that.

I heard Dan Kennedy talk about different things he does. How he bakes into his contract that he might later reuse copy that he’s writing for that client. Or that he might use copy on the current project that he wrote for a previous client. Or how he creates templetized copy, and licenses it to clients instead of giving away the copyright.

Don’t get me wrong. I’m not telling you to be outraged if you are working the same standard way as every other copywriter. I just want to, as Ben Settle likes to say, give you options for thinking differently.

​​Because the standard way is not the only way it can be. You can create your own rules, and like Dolly and Dan, you can stick to them. And if a potential client doesn’t go for it, you can sing him a bit of Dolly’s song:

Good-bye, please don’t cry
‘Cause we both know that I’m not
What you need…

And then, when the song ends, you wonder what’s next. Perhaps you open up your inbox and read a new email I’ve written, and get some more ideas for thinking differently. Because I have an email newsletter — click here if you’d like to sign up for it.

How to write like your client in 3 mechanical steps

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Who’s the greatest actor in Hollywood? Well, now that Chris Farley is dead and Mickey Rourke is unrecognizable, the field is thin. In my opinion, it’s not De Niro… or Pacino… or DiCaprio… or even Nicolas Cage.

Instead, I think the greatest actor is [drum roll, opening the envelope]:

Jim Carrey.

Yes, Jim Carrey is amazingly talented. If you don’t believe me, just go on YouTube and find a 1983 appearance he did on the Johnny Carson show.

Carrey puts on a complex performance, doing pat imitations of James Dean, Clint Eastwood, Jack Nicholson, and Elvis. He actually becomes Elvis. It’s incredible. Almost supernatural.

How does he  do it?

Well, there’s body movement.

When he’s imitating Elvis, Carrey can’t stand still. Hair flailing, shoulders jerking, weight shifting from leg to leg, arms out to the sides like he’s trying to balance himself on a slippery patch of ice.

Then there’s the face.

Lips in a one-sided sneer, eyes rolling back in his head.

Then there’s voice.

Yes, there’s a bit of magic in how Carrey mimics the color of Elvis’s voice. But he also creates the effect by exaggerating Elvis’s cadence — how fast/slow, how loud/quiet he speaks — and which words he emphasizes.

And that’s all there really is to it.

Don’t get me wrong. There’s no doubt that Carrey is talented, and that he worked hard to develop his plastic face and his mimicry of the people he imitates. I just want to point out that there are 3 almost mechanical strategies that, when perfected, allow him to create the illusion he is actually another person.

And get this:

The same thing is true when you’re trying to imitate somebody’s voice in writing.

Fortunately, it’s much easier to write like somebody than to imitate how they look and speak. When you’re writing, you’ve got much more time — and you don’t need to get everything perfect.

But just like on stage, a few simple tricks or strategies are enough to imitate somebody’s voice on the written page.

In fact, if you go by the advice of Justin Blackman, a “Brand Ventrioloquist” who’s written copy for big brands (Red Bull) as well as direct response businesses (The Copywriter Club), there might only be 3 mechanical steps you need to take to write in anybody’s voice.

Which 3 things?

Well, Justin laid them out on a recent episode of The Copywriter’s Podcast. If you’re in the business of imitating your client’s voice in print, it might be worthwhile to listen to. Here’s the link:

http://copywriterspodcast.com/index.php?podcast=940

The marketing genius of colonel Tom Parker

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Without the Colonel, we probably wouldn’t know Elvis.

Colonel Tom Parker was Elvis’s manager from 1956 on.

He made Elvis a household name, and he made himself very rich in the process.

For example, back in 1956, the Colonel signed a merchandising deal to produce a bunch of Elvis tchotchkes, everything from charm bracelets to bookends to stuffed “hound dogs.”

By the end of that year, this contract had already brought in $22 million dollars.

Good. But not great.

After all, not everybody was feeling swept away by Elvis mania — and not everybody was buying Elvis bobby-sox!

No problem .

The Colonel even came up with the idea of selling badges that read “I hate Elvis” and “Elvis is a jerk” — for that other half of the population.

Which I think is a great marketing lesson.

Of course, your product probably doesn’t inspire love or hate on a nation-wide level. And it probably doesn’t make sense to start selling the opposite of what you currently sell.

But the same mindset can apply.

Rather than looking at your detractors and wringing your hands about how they don’t like you, do what 9-figure direct marketing wizard Joe Sugarman used to do:

Look at every problem as an opportunity.

For example, back when Joe was running his Consumers Hero membership program (which sold refurbished goods at cut-throat prices), he got a nasty letter from a disgruntled customer who said he wanted to cancel his membership because the merchandise was junk.

Joe published this bad feedback in the regular Consumer Hero newsletter. He added how he doesn’t really agree, and in any case, he and his team keep striving to do better. And then he went on to talk about all the good news stuff they had in the pipeline.

Just something to consider if you have a business and you’re running your own marketing.

Another thing to consider:

I’ll soon be publishing my Upwork book on Amazon. Once it goes live, there will be a short free promo period. If you want to get notified when that happens, sign up below:

https://bejakovic.com/upwork-book-notification-list/