4 Matching Annotations
  1. Jul 2022
    1. with established worldwide fame and prestige, to step in his previous successes to write more-of-the-same books and convert all the attention in cheap money. Just like Robert Kiyosaki did with his 942357 books about “Rich dad”.

      Many artists fall into a creativity trap caused by fame. They spend years developing a great work, but then when it's released, the industry requires they follow it up almost immediately with something even stronger.

      Jewel is an reasonable and perhaps typical example of this phenomenon. She spent several years writing the entirety of her first album Pieces of You (1995), which had three to four solid singles. As it became popular she was rushed to release Spirit (1998), which, while it was ultimately successful, didn't measure up to the first album which had far more incubation time. She wasn't able to build up enough material over time to more easily ride her initial wave of fame. Creativity on demand can be a difficult master, particularly when one is actively touring or supporting their first work while needing to

      (Compare the number of titles she self-wrote on album one vs. album two).

      M. Night Shyamalan is in a similar space, though as a director he preferred to direct scripts that he himself had written. While he'd had several years of writing and many scripts, some were owned by other production companies/studios which forced him to start from scratch several times and both write and direct at the same time, a process which is difficult to do by oneself.

      Another example is Robert Kiyosaki who spun off several similar "Rich Dad" books after the success of his first.

      Compare this with artists who have a note taking or commonplacing practice for maintaining the velocity of their creative output: - Eminem - stacking ammo - Taylor Swift - commonplace practice

  2. Mar 2021
  3. Oct 2020
  4. Dec 2019
    1. he issue of Håkan Hellström begins to arise with the addition of Gothenburg Film Studios to the team, as Blomgren DoVan is convinced the inclusion of Hellström in the project would guarantee Swedish funding. However, one of the first issues the filmmakers had become aware of at the inception of the project was the fact that Hellström is a huge pop star in Sweden who had built his 20 year career off of egregious plagiarism and copyright infringement of English-language artists. For reasons the filmmakers could not understand, this issue had never been litigated and no one in Sweden appeared to care about it; in fact, the filmmakers learned early on that the subject was a point of contention for many Swedes.  ​ Not wanting to offend the Swedes, the filmmakers concede, and in April, shoot a bizarre two-day Hellström concert in New York. Hellström, who sings in Swedish and is unknown outside of Scandinavia, plays two sold-out shows at Gramercy Theater in Manhattan to an audience comprised entirely of Swedes who had flown to NYC for the event, many of whom attended both nights. The show is publicized in Sweden as though Hellström had sold-out the show to the local New York audience, however, this is not the case. During the weekend, Hellström avoids so much as acknowledging Trask and Hecht, who are among only a small handful of people present at the venue from pre-soundcheck to load-out. To make matters worse, on the second night of filming, Hecht is briefly cornered in the basement of the venue by Hellström's "A&R" Isse Samie, who is extremely drunk and inappropriate towards Hecht, over 20 years his junior. Blomgren DoVan appears unmoved by the events of the weekend, and Trask and Hecht drop the issue.

      I wonder what Håkan Hellström fans think of this.