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Posts Tagged ‘Kahlil Ashanti’

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October 26, 2011

Talent Isn’t Enough: The Performer of The Future

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This article originally appeared on Seth Godin’s Domino Project Blog, and in it he referred to authors. I’ve substituted the word authors for actors, and writing for acting, but you get the idea.

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‘Many successful, serious actors are in love with the notion that they get to be serious and successful merely by acting.

There was a brief interlude in which it was possible for a talented actor to be chosen, anointed, promoted and paid for her work. Where the ‘work’ refers to the acting.

This idea that people could audition, get hired, and periodically cash checks is now dying.

Actors of the future are small enterprises, just one person or perhaps two or three. But they include fan engagement specialists, licensors, new media development managers, public speakers, endorsement and bizdev VPs, and more.

No one has your back.

Sad but true. The actor of today (and tomorrow) is either going to build and maintain and work with his tribe or someone is going to take it away.

That whole thing with the ‘Casting Director Workshops’ didn’t last forever either.’

-Kahlil (at) gigsmacked (dot) com

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The Basics

July 17, 2011

I Want To Be A Loser – Like Frank Sinatra

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The Montreal Just For Laughs Festival is pretty amazing.  It feels good to finally be here, doing my thing.  But when I read this article by Bob Greene which originally appeared on CNN.com, it reminded me how fleeting fame is and how important it is to stay grounded and surround yourself with people who don’t care how successful you are. Thankfully, I am surrounded by great people – from my wife, friends and family to my attorneys at Myman-Abell but it never hurts to check yourself.  Now I know why Frank was so fiercely loyal and that is a quality in short supply these days.  I only pray that I can also be remembered this way.

Frank Sinatra’s lesson in loyalty

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Some people are so big during their lives, even death doesn’t seem to entirely take them away.

So it is with Frank Sinatra. He left this earth in May of 1998, yet there is seldom a day when you don’t hear his voice drifting out of a radio, seldom a week when you don’t catch a flash of his face on a television screen, or read a reference to him in a newspaper or a magazine. Sinatra: The word itself signals something. Those three quick syllables: sharp, snappy, staccato. The images the name brings to mind: the Rat Pack, ring-a-ding-ding, very good years, strangers in the night. Many adored him, some despised him; few were indifferent.

In New York, especially, his voice remains omnipresent. His “New York, New York” might as well be the city’s official anthem. Many times when I’ve visited Manhattan I have walked past what was said to be Sinatra’s favorite restaurant: an unprepossessing-enough-looking Italian place on West 56th Street called Patsy’s. This, Sinatra legend has it, is the spot where he could relax, where he felt most at home.

I’d never gone inside. I had imagined it as a peak-of-the-mountain place, a restaurant where only the most savvy would congregate, men and women who were at the pinnacle of their games, who had long ago learned and mastered all the angles. After all, this was where Sinatra had his regular table, wasn’t it? How could mere mortals have a shot at fitting in?

This trip, I came in for dinner. And learned a lesson.

Sinatra, in his chairman-of-the-board years, in his sell-out-every-seat-in-the-concert-hall decades, did, in fact, gravitate to this place. But it wasn’t because he was the biggest name in entertainment. It was because at one point in his life, he feared that he might be finished.

“My grandfather was the first member of our family to know him,” said Salvatore J. Scognamillo, the current chef and co-owner of Patsy’s.

The grandfather — Pasquale “Patsy” Scognamillo — had co-owned a restaurant nearby called the Sorrento during the first years of the 1940s. The young Sinatra was brought in one day by his boss, bandleader Tommy Dorsey. “I’ve got this skinny kid from Hoboken,” Dorsey reportedly told Patsy Scognamillo. “Fatten him up.”

Sinatra swiftly became an international singing idol whose voice and face made women and girls scream and faint; riots broke out at his concerts. Patsy, meanwhile, left the Sorrento and opened Patsy’s. Both men — the crooner and the cook — were doing well for themselves.

But in the early 1950s, Sinatra’s career crashed. He was no longer a kid. His records stopped selling. His romance with Ava Gardner was on the rocks. His record company dropped him. The winner suddenly was being widely seen as a loser, washed up.

People who follow the Sinatra story know about the eventual comeback: how he landed a role in the movie “From Here to Eternity” and won an Academy Award, how his career zoomed again, how he became the living symbol of success and swagger.

Yet in those down years, no one could have anticipated the rebirth. Sinatra was a has-been, yesterday’s news.

“He would come in to the restaurant alone for lunch,” Sal Scognamillo said to me. I could tell that this was a thrice-told family tale — or a thrice-times-thrice-told tale. That didn’t make it any less compelling.

“My grandfather would sit with him,” Sal said. “There would be people eating lunch who would avoid making eye contact with Sinatra — people who used to know him when he was on top. Sinatra would nod toward them and say to my grandfather: ‘My fair-weather friends.’”

One November, on the day before Thanksgiving, Sinatra asked Patsy if he would make him a solo reservation for the next day. “He said he would be coming in for Thanksgiving dinner by himself,” Sal said. “He said, ‘Give me anything but turkey.’ He didn’t want to think about the holiday, but he didn’t want to be alone.”

The restaurant was scheduled to be closed on Thanksgiving. But Patsy didn’t tell Sinatra that; he told him that he’d make the reservation for 3 p.m. He didn’t want Sinatra to know that he was opening especially for him, so he invited the families of the restaurant’s staff to come in for dinner, too. He cooked for Sinatra, on that solitary holiday, and it wasn’t until years later that Sinatra found out.

That’s where the loyalty came from. That’s why Sinatra never stopped coming to the restaurant. In later years, when Patsy’s would be jammed with diners hoping to get a glimpse of him, few understood why the most famous singer in the world would single out one place as his constant favorite.

It was no big secret to the Scognamillo family. They all knew. A person recalls how he is treated not when he is on top of the world, undefeated, but when he is at his lowest, thinking he will never again see the sun.

“Up those stairs, that’s where Sinatra used to have his table,” I heard a man say to his date as they entered the restaurant. He’s still packing them in, 13 years after his death.


‘Who remembers a kindness that comes when kindnesses are in short supply? Who most treasures being made to feel welcome when every door seems to be slamming shut?

In the wee small hours of the morning, only the lonely.’

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CNN contributor Bob Greene is a best-selling author whose books include “Late Edition: A Love Story” and “Once Upon a Town: The Miracle of the North Platte Canteen.”

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-Kahlil (at) gigsmacked (dot) com

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The Basics

June 30, 2011

When does rejection become opportunity? EXAMPLE:

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The Montreal Just For Laughs Festival is the largest and most respected comedy festival in the world.  It has long been a dream of mine to perform Basic Training there and after selling out several major festivals around the world, I thought this one would be a great opportunity.  On July 14-22 I will be performing my show at the Montreal Just For Laughs Festival.  How long did it take me to get my foot in the door?

2002 – I sent a tape in.  no response

2003 – I sent a tape in, called 17 times. no response, no return phone call

2004 – I performed my show at the Montreal Fringe Festival, received an Honourable Mention from Just For Laughs due to the fact that my show was not considered a comedy.

2005 – Called and emailed several times to get my show staged at Just For Laughs. No response.

2006 – Called and emailed – no response

2007 – Made contact, then the trail went cold.  Tried to follow up.  No response.

2008 – Called and emailed – no response

2009 – Called and emailed – no response

2010 – Called and emailed – got a response

2011 – Performing at Montreal Just For Laughs.

I look at this list and I don’t see 9 years of rejection, I see 9 years of opportunity.

Embrace the rejection and use it.

-Kahlil (at) gigsmacked (dot) com

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On The Road

June 16, 2011

Carmen Electra and The New Triple Threat (and its not singing and dancing)

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Carmen Electra & The Pussycat Dolls

Resumes are useless.  I don’t even know why they ask for resumes at auditions any more – they’re just going to Google you when you leave the room anyway.  And if you haven’t proven yourself in the room you’re not going to book the gig, regardless of how many times you’ve been a unicorn on Battlestar Galactica or ‘Cop 1′ on SmallVille.

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It used to be that singing, dancing and acting were the trifecta of the entertainment world.  If you could do all three of those you were considered a well rounded entertainer.  Michael Jackson. Sammy Davis Jr.  Tony Bennett.  Bette Midler.  The list goes on.

I’m not saying that there isn’t value in these skills.  The problem with the theory of ‘triple threat’ is two-fold.  First off, too many performers focus on trying to become all of these, when in reality, very few people can do three things well.  With the exception of the list of entertainers above and maybe a few more, a true triple threat comes along once or twice in a generation.  The rest are just mediocre.  Pick one thing that OTHER people (not family) recognize that you’re world class at and focus on it.  Focused time equals focused results.

Second thing is, the business of entertainment is no longer just on stage.  If you aren’t engaging or cultivating your audience through social media or if you don’t have some sort of web strategy, you’re not taking yourself seriously and you won’t be taken seriously.  Slapping up a MySpace page or a cheap website and then spending crazy money on extravagant head shots or equipment is backwards.  No brand, no stand.  It’s called show business for a reason and those who know the business will benefit most.

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Of course there’s always the exaggerated story of someone being discovered at a mall or being asked to model for Prada because of the way they licked their ice cream at a bar mitzvah.  There’s an exception to every rule and most of us are the rule.  The danger in this scenario is that you may get discovered but if you don’t know your business you’ll end up with a gig and not a career.

The decades I have spent on stage honing my craft have been truly blessed with many amazing successes and opportunities, but I have made more money as a result of these gigs than I have from these gigs.

Yesterday I sat in a rehearsal with Carmen Electra, Robin Antin and the Pussycat Dolls.  They heard about me through an agent who saw my show at the Vancouver Fringe Festival and after meeting with me realized that my business mind was something that had added value.  Since then this agent has sent me on the road with several major acts, asking me to re-tool their businesses both on stage and off.  I am touring with the Pussycat Dolls across Canada as they premiere their new Burlesque show and tweaking their business along the way.

So why does an actor with an award winning Off Broadway show, a national commercial and a television development deal continue to generate work as a tour manager and brand strategist?  Because the internet and social media have empowered performers to come off the stage and still perform.

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The new triple threat is:

1. Talent (what you do best, keep it up)

2. Business (creating opportunities for yourself)

3. Branding (knowing how to leverage 1 & 2 to make money)

How do you get there?  Visit my website and click on News for some recommended reading.

Now get off stage and go make some money.

-Kahlil (at) gigsmacked (dot) com

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On The Road

May 9, 2011

Relationships Are The Currency Of Our Business

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‘If only an agent would discover me.  If only a record label would sign me.  If only that casting director would pick me.’

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You can’t put a band-aid on a gunshot wound, so let’s go deeper to the source and stop the bleeding.

Try this: stop looking for gigs and start building relationships.

With the onset of social media, the days of ‘please listen to my demo’ or  ’I'm going to send my headshot to every agent in Hollywood’ are over.   Now, more than ever, you have the power to stand out, to get eyeballs on your brand, for free.  Even theater and product reviews are subject to the madness of the mob.  If you do quality work, people are going to talk about you and the quality of those interactions will lead to tangible relationships.  How do you capitalize on those relationships using social media and leverage them for career success?  Read ‘Engage’ by Brian Solis, or follow Mashable, the most influential blog in the world when it comes to all things social media.

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How do you build relationships?

  • If you come in contact with someone who is influential, don’t talk shop.  Allow them to get to know you as a person, give them a reason to care about you, not your resume.
  • Play gigs for free, offer your services for free.  Unless you really suck you’re not going to get turned down, and it’s a chance to leverage that free gig with a referral or some contacts for future paying gigs.
  • Find a business model and stick to it.  If you aim at nothing, you hit nothing.
  • Go to networking events.  There’s nothing I hate more than a room full of people, but no one is an island.  Get out of the house.
  • For every person who turns you down for a gig, ask them for three people that may be able to help you.
  • Invite that casting director, author or marketing guru to your event or show.  They’ll probably blow you off – unless you’re persistent, and that builds respect as long as you know when to chill.  I think influential people are like super models:  they don’t get asked out as often as you think, because everyone thinks they’re always getting asked out, so nobody asks.
  • If you’re fortunate enough to book a gig, finish by saying thank you and realize that entitlement is a one way ticket to mediocrity.  Check out Gary Vaynerchuk’s, new book The Thank You Economy.

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These aren’t things I read about on the Internet, they are things I’ve done and continue to do – and they work.

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I look forward to reading about you.

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Kahlil (at) gigsmacked (dot) com

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