Don’t, Don’t You Want Me… Over the last week and a half or so, the picture of a rejection letter U2 received in 1979 has been posted and reposted all over my social media feeds. Many commenters took the opportunity to mock the executive’s decision, and in retrospect I’m sure there were multiple occasions when he would have loved to have a do-over, but let’s take a look at what that rejection really meant in real time. While on the surface, receiving a rejection is often taken to mean, “you suck,” there are often deeper motives behind that NO. In the U2 case, this is almost certainly the standard form letter that was sent out 99.99% of the time to submissions to RSO. Something about the submission did not strike anyone’s fancy at that particular time and place. If the demo even got a listen, it had one shot to impress, in this case it didn’t. I’ve spent the better part of the last two weeks listening to music we’ve picked up at conferences and that has been sent unsolicited to us. Most of that music has failed to capture me for one reason or another. Much of it is decent. In time one of those artists might turn into “the next big thing.” I doubt it, but it is a chance I take by saying no. Maybe the songs weren’t the greatest, maybe the performance wasn’t top-notch, maybe the production didn’t do the music justice, maybe we don’t get a lot of call for that style, maybe it sounded like 8 other things I’ve already got in my catalog; there are many reasons why a particular submission doesn’t grab me. Quite often, the last two reasons come into play: we don’t get a lot of call for that style and/or it sounds like something we already have. Do music supervisors use light jazz in some situations? Yes. Do I get large numbers of requests for it? No. I’m probably going to pass on 99% of light jazz submissions I receive simply because it’s not going to make me money. Period. Do music supervisors use Green Day (or similar sounding bands) in some situations? Yes. Do I need 15 bands that have that same sound? No, I’d rather have one or two that are what I feel are the best of that crop. That way I can have the best shot at getting it used and making money. My rejection isnt a judgment of you or your music, it is a decision about business. Let’s go back to RSO and U2. In 1979, RSO’s focus was on Disco and lite pop. Did U2 fit that mold? Hmm, great product but not what RSO worked with (for the most part, they did have Clapton at the time). Not a fit, not going to be the most likely source of income. From a purely business standpoint, the rejection makes sense, especially looking at it through the 1979 lens. Yeah, rejection sucks. Keep in mind, though that the “it’s not you, it’s me” line might just be true. Maybe it is just a decision about that business fit. Maybe it is no different than the booking agent of the club that brings in metalcore acts deciding not to book your acoustic country act. Find YOUR audience, and focus on that segment of the music world. Don’t forget to take rejection in stride. Just because one person says NO doesn’t mean there isn’t that person out there who will say yes. U2 seems to have done moderately well despite this early setback. You can too.
Posted on: Mon, 17 Mar 2014 16:47:24 +0000
Trending Topics
Recently Viewed Topics
© 2015