April 21, 2025 • 41 mins
"People listen with their eyes." This profound insight from Andy Gessner, owner and president of Hip Video Promo, sets the stage for a fascinating deep dive into the world of music video promotion and digital artist marketing. Drawing from his experience promoting over 4,800 music videos, Andy reveals how visual content has become the cornerstone of artist identity in today's digital landscape.
The conversation explores the delicate art of creative storytelling in music videos, with Andy advising artists to envision their perfect visual by going "to a dark room, close your eyes, listen to the song the way we used to." This approach helps artists translate their sonic vision into compelling visual narratives that connect with audiences on a deeper level. For independent artists concerned about limited budgets, Andy offers reassurance that smartphone-shot videos can find success on major platforms like MTV and BET Jams when paired with great music and authentic vision.
One of the most valuable takeaways is Andy's "60-day grind" strategy for maintaining momentum through social media. He emphasizes the critical balance between music content and personality posts, noting that showing your human side transforms casual listeners into super fans. "Show folks that you're a human person... a lot of people will like your music, but if you're not afraid to show folks who is the real artist, they're going to like you too." This approach builds the thousand dedicated super fans that can sustain an artist's career.
The episode also features fascinating behind-the-scenes stories, including Andy's experience promoting Johnny Cash's iconic "Hurt" video and his early work with Five Finger Death Punch. These anecdotes illustrate how recognizing potential and advocating persistently for artists can lead to career-defining moments in music marketing.
Whether you're an independent artist looking to promote your music or simply curious about how the visual side of the music industry works, this conversation offers invaluable insights into creating authentic connections with audiences in today's digital landscape. What music marketing strategies are you implementing to build your super fan community?
Links
- Jay Franze: https://JayFranze.com
- HIP Video Promo: https://www.hipvideopromo.com/
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tony Scott (00:05):
Welcome to The Jay Franze Show, a
behind-the-curtain look at theentertainment industry, with
insights you can't pay for andstories you've never heard.
Now here's your host, JayFranze.
Jay Franze (00:33):
And we are coming at you live.
I am Jay Franze and this isyour source for the latest news,
reviews and interviews.
So if you would like to join in, comment or fire off any
questions, please head over tojayfranze.
com.
All right, folks, tonight wehave a very special guest with
us.
We have the owner and presidentof Hip Video Promo, hailing
(00:55):
from the great state of NewJersey.
We have Andy Gesner.
Andy sir, how are you?
Andy Gesner (01:02):
Jay, fantastic, very grateful you've invited me
to be a guest on the Jay FranziShow.
Jay Franze (01:10):
I'm excited to have you here, buddy.
I'm always interested intalking about music marketing,
so why don't we just jump rightin?
Let's start with can you tellus a little bit about the value
of creative storytelling when itcomes to making a successful
video?
Andy Gesner (01:33):
Well, now more than ever, people listen with their
eyes and, in many ways, thestory you tell in your song can
be amplified considerably bybeing able to tell a good story
in a visual.
It's my humble opinion that thevisual is the cornerstone to
(01:55):
your identity, and it can alsoshow off your chops when it
comes to your creative efforts.
When it comes to your creativeefforts, you put all this time
and effort into creating awell-crafted, fully realized
song, and when you're an artist,you actually are your story,
(02:16):
and never before, jay, has itbeen important that independent
artists are able to tell storiesaround their music.
Jay Franze (02:27):
Can you give us an example of a time when an artist
came to you with a song andwanted to put a video together,
but didn't quite understand theconcept of creating that story?
Andy Gesner (02:40):
I've always told the clients they need to go to a
dark room, close their eyes,listen to the song the way we
used to, with very few otheroptions to consume your music,
and we used to imagine what wesaw or what was the vision of
(03:05):
the artist.
And I always suggest, likeCasey Kasem used to say, just
keep your feet on the ground,but pie in the sky in a perfect
world, unlimited funds, what doyou see?
And once they've completed that, they have to do it a second
(03:27):
time.
So they're coming to us withideas and after 20 years of
playing music, I enjoy workingwith clients because we do also
have a production arm of hip inmaking sure we tell their story
and we realize their vision.
Jay Franze (03:50):
When you say pie in the sky, somebody comes in.
Has anybody ever come in withthis outrageous thing?
That could never beaccomplished.
Andy Gesner (03:59):
Yes, but just like in negotiating, Jay, you start
at the top and you work your waydown.
Jay Franze (04:07):
So tell us, tell us what happened, what was the idea
?
Somebody came to you with.
Andy Gesner (04:13):
Just today.
It's going to be difficult.
So it's a young lady in LosAngeles and she just moved there
from elsewhere and of coursethat's an incredible culture
shift just to begin with, andshe's there in January.
(04:36):
So she wrote a song calledDance in the Fire and it's
pretty heartfelt.
I think when you experiencesomething, there is much more of
a visceral urge to tell thatstory with your fans, your
audience, your family.
So they have employed us tomake a lyric video, but they
(05:01):
want footage from the fire.
But they want footage from thefire.
So I see myself tomorrowcalling KTLA, KCAL, Fox 11.
Okay, this is going to be for agood cause, to help the people
of the fire.
Can we use some of your footageNow, Jay?
(05:22):
You and I both know thatcopyright people, especially
nowadays, they're not going tolet you get away with anything.
And even if we get the okayfrom the TV stations, how am I
going to call YouTube and tellthem they've made a mistake?
Jay Franze (05:42):
Right, we used to battle with that with our theme
song.
We had a band that licensedtheir theme song to us and it
was awesome and it was great,but every time we ran it on
YouTube they flagged us forcopyright violation, even though
we had the right to use it.
So I completely understand that.
So what is your negotiationtactic going to be with this
artist?
Andy Gesner (06:03):
There is a dojo karate studio in Palisades that
burned down and now the kidshave no place to go, so they're
doing it makeshift.
But Kendra, she wants to helpand she wants to donate and she
(06:32):
came up with the idea let's do abig fundraiser and we can
invite all the famous people andat that show we're or event
they're going to play the lyricvideo and that'll be the big
world premiere.
I think the best part of musicmarketing is that, if it's 20%,
the great music, the great song,all the time and effort.
(06:56):
I don't know, jay.
I'd like your opinion.
Is it really 80%?
How you're able to get it outto the public.
Jay Franze (07:07):
I would think you spend the majority of your time
trying to get stuff out to thepublic.
We used to say that all thetime when we were creating music
, that you're going to spendthis certain amount of time
creating the music, but thenyou're going to spend the next
two years promoting that music.
So it could be anything fromtaking it on the road to putting
music videos together, to doingthe interviews and so on.
(07:28):
So, yes, you're going to spendmuch, much more of your time
promoting the music than you areactually making the music.
So, as we talk about this inthis negotiation that you're
doing with Kendra to give backto this karate dojo Now, does
that open up the doors for youto use some of that footage or
(07:50):
to get footage from people tohelp out with this video?
Andy Gesner (07:55):
What do you think this idea?
Instead of going with whatmight be your six o'clock or 11
o'clock news, we go with actualfootage from the people's phones
who lived it.
Jay Franze (08:08):
Right, because then it's not copyrighted.
Well, it's copyrighted materialfor them, but nobody's seen it.
So nobody knows that thatfootage exists and they're not
going to be able to flag it.
So if you do get it licensed toyou, nobody's going to know
where it came from.
So have you taken that approach?
Have you started that process?
Andy Gesner (08:26):
Well, they are West Coast, so the call was at 630
this evening, so I think I'mgoing to put it on my to-do list
for tomorrow.
Jay Franze (08:38):
All right, fair enough.
Well, I know you've done a lotof work with famous artists and
one of them I want to talk aboutlater because it happens to be
one of my favorite artists.
But before we get there, canyou tell me what you're able to
do with an artist these dayswith a lower budget?
Andy Gesner (09:29):
People figure the price of admission for a music
video promotion ranges aroundwhat might be a smaller budget
radio promotion budget music andhas lived it, breathed it,
sweated, bled it.
I would rather undercharge andover deliver Because, even
though you make a little less oneach project, the clients feel
the ROI is just so not to beignored, that they're already
working on a new music videobecause they've ditched the
radio.
They've ditched the radio andthey're saying you know, we're
(09:52):
going to take those marketingresources and figure out a
better way to connect with apotential community that we can
build and grow.
And that is why, with everycampaign, we help the clients
with the social media marketingand the creation of content, and
(10:16):
many perish due to lack ofknowledge and all it takes is
just someone you can trust whocan like take you through the
process.
The biggest issue is that for alot of these independent
artists, if it's dressed inoveralls and it looks like work,
(10:39):
you're not going to do it.
Jay Franze (10:43):
All right, so let's start there.
Then I'm an artist, I come toyou, walk me through the process
.
All right, so let's start there.
Then I'm an artist, I come toyou, walk me through the process
.
What do we do from the day Ihit your doorstep to the day
that we're finished with theproject?
Andy Gesner (10:53):
Well, first is the visual.
Even though we promoted 4,800music videos, I have probably
said no to a very large amount,because it's pretty clear to us
that in this world you never geta second chance to make a
(11:15):
client that their video is gooda good first impression.
When it's then to fit to himand tell him it is a good first
(11:49):
impression because number one itdoes not help the creative.
Maybe he needs to be told toditch that sorry ass
videographer and next time out.
You know, experience is a hardteacher.
She gives the test first andthe lessons afterwards.
Do it right there, sport, Imean, you really want to get out
(12:11):
of the gate with a big old headof steam.
Now nine out of 10 will be soappreciative that we aren't like
all the other marketing peoplethat'll just take your money and
do nothing.
So they're the people who calleight months or 11 months later
and say Andy, remember me, I'mBobby.
Yeah, remember you, told me my.
(12:34):
Well, let me tell you.
I appreciate it because now, inhindsight, retrospect, you were
right.
Now I've shot a new video, I'mgoing to send it to you.
I have saved the artist fromhimself.
I've topped him off a ledge.
I think I'm doing the big guy'swork there and then you start a
(12:55):
relationship on a basis oftrust.
Jay Franze (13:00):
So you've got that relationship.
Now you meet with the artist.
You earn their trust by lettingthem know the truth about their
video.
Tony Scott (13:07):
They go back.
Jay Franze (13:07):
They create something that now you both feel
is going to be successful.
What's?
Andy Gesner (13:11):
the next step.
We get the assets, so it's thevideo file.
We need the lyrics because wehave to close caption it.
Everybody gets it a differentway.
Some people need it digitallydelivered.
Other people would prefer toget a certain kind of file.
(13:35):
That is odd and peculiar.
But if you're promoting acouple hundred videos a year,
you figure it out.
A couple hundred videos a year,you figure it out.
And then there are those thatyou absolutely have to use a
company out of Toronto, canada,dmds.
What it basically stands for is, if you want to pitch to MTV or
(13:59):
BET Jams or Music Choice,you're going to have to go
through us and you're going tohave to pay a certain amount of
submission to present your videoto these decision makers
gatekeepers.
Jay Franze (14:15):
Again, that makes sense.
You have to have theconnections to do something Now,
whether or not it's a fair dealor not, that's to be said, but
somebody's got to be thegatekeeper.
I guess my question would bedoes that gatekeeper have a
relationship with MTV or CMT orwhoever else?
Is it a relationship that wasdesigned on purpose?
Andy Gesner (14:37):
It was.
They were receiving so muchgarbage, so much rubbish, total
riffraff, and they wanna look ateverything, they wanna give
everyone a fair shot, and it'sall done by committee.
So they hatched this plot.
Well, like, how can we make itas difficult as humanly possible
(14:59):
to get the videos into thismeeting?
And hence that new era was born.
And remember, if it's somethinglike BET Jam, sure they accept
the video, but then it goes tostandards and practices.
So then it gets bumped back tous and whether it's a blur or a
(15:23):
little twist on the off, it'sall part of a day at hip so when
you're doing that right.
Jay Franze (15:32):
So you've developed a relationship with them now.
So you're creating a one levelup relationship.
So now you're working with themso you know what they expect.
That's your.
Your value to your client isthat hey.
I know what they're looking for.
So let me go ahead and help youget to that point, especially
(15:54):
when you have to convincesomebody to go and reshoot a
video, which could be a veryexpensive process.
So you do that and you'vecreated that relationship.
You've upped their videoquality.
Now you're taking it to thesepeople that you have this
relationship with.
What's the next step from there?
Andy Gesner (16:11):
Well, you've got to tell the client's story.
Every video gets a storybecause it's almost like reading
the back of the cereal boxwhile you're eating your cereal.
People want to know, a who areyou, b what makes you special
and, most importantly three, whyshould I pay attention?
(16:37):
So, as a former journalism andmass media major, I want each
story to end so that the readerhas no other visceral urge than
to go watch this video.
So we're now over 4,800 timeswriting these and a couple
(17:01):
things become very clear.
The artists themselves they arenot the person to tell the story
.
The older brother, who is anauthor no, he's definitely not
the guy to do it.
The bio writer for 350,.
(17:22):
It's amazing because we sendthese proposed one sheet press
release to the client andthey're just floored in the
sense that they've neveractually looked at what they are
and what they do and what theirmotivation is from an outward
(17:43):
view, because we all know a lotof these interviews,
interviewers they don't do theirresearch.
How many times have we gone tothe newspaper on Friday to see
the big article that we had togo?
Oh, and the guy just calls itin.
It's terrible.
So, yes, telling the story iskey.
(18:04):
Then we send a social mediaoptimization guide with all the
tips and things they should doto optimize their online
platforms, and it's kind of liketaking your vehicle and did the
detailing shop before the bigcar show and then it's all set
we have to get an exclusiveonline world premiere.
(18:24):
So some will politely pass,others will say it doesn't fit
their filter, but it's all aboutthe big day when the video
comes out and it's definitelyall hands on deck.
You want to make a big splashand get a lot of people excited
(18:46):
about it.
So it very much is aparticipatory sport, as in.
The artist really has to levelup and realize that.
You know, this is like hittingthe beaches at Normandy.
I put all this time and effortin.
We got to win this battle bigtime.
So we are cheerleaders, we arementors.
(19:10):
I guess we are the shoulder tocry on when you have a problem
or someone messes with theirFacebook page or they can't
remember their password.
I mean you just hear everyreason why an artist is feeling
frustrated.
Jay Franze (19:30):
Before we get off the subject of this origin story
that you're talking about, whatare some qualities that make up
a good origin story?
Andy Gesner (19:39):
I think that the best thing these people can be
in life is themselves, so theyreally have to share with us.
What is your motivation?
Why are you even doing this?
And it really forces the artistto think a little bit more
about what it is that he'sbringing to the world.
(19:59):
I mean, we all listen to musicto feel a way we'd rather be
feeling.
So what is it?
And so I think it's importantthat, because everything is so
now, story driven, people shouldreally take some time and
effort and figure it out.
Jay Franze (20:22):
So again, we talk about all this.
You talk about all this.
You talk about authenticity.
Do you ever have a strugglebetween the authenticity and
imagination?
Andy Gesner (20:36):
well, I tell the clients because a lot of them
want to try to stay humble.
I really don't want to have topost every day, I'd just rather
have people appreciate me for mymusic.
Jay, we ain't in that worldanymore.
Jay Franze (20:56):
You're starting to talk more about the social media
world, so why don't we go aheadand take that path for a minute
then?
Okay, so when we talk aboutsocial media, especially these
days, when we're talking aboutvisual content, there's a
struggle between the short formand the long form, and in the
world of music video, long formis only three, three and a half
(21:17):
minutes and short form is 30seconds.
So how do you see those twoplaying nicely together in the
sandbox?
Andy Gesner (21:28):
Well, I would contend that the most frequently
asked question has been Andy,why is everyone saying don't
waste your money on a sorryofficial music video?
(21:53):
Just all short form content, mm, hmm, okay, maybe for a little
while, but I think there willalways be a market for the full
and complete book.
We don't want the freakingcliff notes.
Jay Franze (22:15):
It's debatable, right?
So for somebody like myself, Iwant the full book, I want to be
able to see the full video, Iwant to listen to the full song
and in some cases I want tolisten to it on repeat so I can
pick up the little nuancesthrough it and really take it in
.
But that's the generation thatI was brought up on.
So generations.
(22:36):
These days I have threedaughters I don't know if
they've listened to an entiresong ever.
My older daughter, the oldestof the three.
She has now gotten intopurchasing vinyl, which I could
not be happier.
She's making herself a littlecollection and she puts it on
and listens to it from start tofinish, and now she has album
(22:56):
art that she can take and lookat, read liner notes.
She gets the experience that Ihad when I was a kid.
But most people these daysdon't take that experience.
They see the videos on socialmedia and what kills me these
days is kids are posting videoswith their songs sped up so they
can get through them quicker.
(23:16):
So I mean, how do you fightthat when you're creating these
long form videos?
Andy Gesner (23:23):
I think that there's always going to be a
market for music videos, sothere's no fighting it, and I
would say that, no, you don'thave to spend the big bucks on a
music video anymore.
I'm sure, jay, you are veryfamiliar the days where you were
(23:48):
required, or would look like us, to shoot a music video on film
.
Jay Franze (23:56):
Yes, of course.
I used to work with a videocompany out of Boston and we
started on film and it was astruggle to switch to digital
media.
Andy Gesner (24:07):
And there were beta SP tapes three quarter inch.
Jay Franze (24:14):
Yep, so you were talking about budget and putting
together a video these days,and you even mentioned lyric
video earlier.
Lyric video seems to be thelowest a video these days, and
you've mentioned lyric videoearlier.
Lyric video seems to be thelowest common denominator these
days.
My opinion.
Not the best way to go, but itdoes give an artist an ability
to get something out there.
So let's take it a step beyondthe lyric video.
(24:35):
Give us some examples of whatwe can do with a low budget when
it comes to making a video.
Andy Gesner (24:41):
I think it's to make a human connection.
Jay Franze (24:52):
I think of some of the videos we've promoted that
were very low budget and theresults were phenomenal.
What would be a good budget forus to reach?
Andy Gesner (24:59):
What's a goal?
Well, I think that, uh, for themost part, when it comes to
music videos, I'm not quitecertain whether you have to
spend five figures.
If you've got a goodvideographer who has proven, I
tell clients you really have tolook at, okay, who has the
(25:22):
person worked with?
Can I watch some of his work?
And you want to be with avideographer that's got the
opportunities that you're goingto be able to have your input
and have some creative vision init and have some creative
vision in it.
So I would think some of thevideos we're getting are done on
(25:43):
a phone, not on a shoestringbudget, but there they are on
MTV, spankin' New or BET Jams.
I think you've got a situationwhere, if you've got a great
song and great music will alwaysfind an audience, you've got an
opportunity to build your fanbase and grow your community.
Jay Franze (26:06):
So when we're talking about it from a
marketing point of view and youget this video in your hands, is
it like any other form of media?
Do you feel like you can takethat video and then chop it down
into smaller pieces for socialmedia so you can repurpose the
video into video clips?
Do you have a strategy when itcomes to repurposing clips?
Andy Gesner (26:31):
Well, I think that we have a lot of clients who
will do a 60 day plan.
We call it the 60-day grind andwe were chatting in October,
november, how they plan to havefive, they plan to have six,
(26:52):
they're going to have fourreleases in 2025.
So I very much take the shampoorinse, repeat, repeat approach
because nowadays that's the onlyway you're going to get the
kind of traction that will makeit so you can do music and
nothing else.
So for a lot of our clients, weare starting round two here in
(27:15):
April and you don't have to haveyour visuals figured out to
keep that momentum going.
All you have to do is know thatconsistent, sustained promotion
is going to win out in the end.
Jay Franze (27:33):
All right.
So you're taking these socialmedia clips and you're
generating what I can onlyassume is several of them and
you're dispersing them at aparticular rate of time to get
them out there and keep peoplemotivated.
Andy Gesner (27:49):
So is that rate of?
Jay Franze (27:50):
time daily.
Andy Gesner (27:52):
We have clients who will post two or three times
daily.
It's something that we havestruggles with, because you've
got to keep that vibrationconstant.
And well, I don't want to usethe word constant, no,
consistency, consistency is thekey.
Jay Franze (28:16):
So, from the fan point of view, I follow several
bands and a lot of independentbands as well, and what I see
happening, especially with theindependent artists, is they put
a single together, they createa video and then they write it
to death.
So just like I guess what usedto be on the radio when you
(28:39):
would hear that song once anhour, now I'm hearing that same
song in a video, whether it besocial media, the full video or
just the repurposed clips.
I'm hearing that same song overand over and over again, all
day, every day.
So do you ever run into achallenge of creating listener
(29:01):
fatigue?
Andy Gesner (29:03):
Well, how about some of those songs you speak of
from bands you respect andadmire?
And because they're beating youover the head with it, it's
having a negative impact.
Jay Franze (29:17):
When a radio station plays a song an hour and even
when you love that song when itfirst came out, they can drill
it into your head so much that,even though you might still
think it's the best song on thealbum, you don't want to hear it
anymore.
So how do we keep a new band,an indie band, from creating
that fatigue and still promotingtheir music?
Andy Gesner (29:50):
Well, I think you have to keep a keen eye on your
audience.
You do have to experiment withtiming.
I think that a lot of clientsthey're not including the
personality posts, and thepersonality posts are maybe
every fourth or fifth.
Show folks that you're a humanperson.
(30:13):
You know a lot of people willlike your music, but then if
you're not afraid to show folkswho is the real artist, they're
going to like you too.
And then you've got someone whowas a fan and now they are a
super fan.
So you and I both know athousand super fans.
(30:36):
You're off to the races,absolutely.
Jay Franze (30:39):
Well, you make a very good point when you talk
about letting them get to knowyou as a person, so you're part
of the development of thesesocial campaigns.
How are you helping them torelease these videos as a person
?
What kind of direction do yougive them?
Andy Gesner (30:59):
Well, we ask them what they are passionate about,
and for a lot of people that's areal head scratcher.
What are they passionate about?
And then, of course, they'llsay well, I'm passionate about
my music and I'm like jackass,we're talking other things in
(31:20):
your life.
Well, I don't want to show myfamily.
No, I'm not talking showingyour family Now for me, okay,
I've been waiting all year.
I like sharing my garden.
Now people said no one wants tosee your garden.
You're going to see the garden.
It's, it's all happening, it'sall coming, and people will see
(31:43):
that I'm I'm excited about thegarden and people need a post to
brighten their day.
And then you show them thepretty flowers and you're a hero
.
Jay Franze (31:56):
That's true.
When I post something that'scompletely off topic, it gets a
lot of attention.
But it's getting a lot ofattention because it's that one
splash of color in a world ofblack and white.
So if you were to then startoverdoing that, then it goes in
the other direction.
So there has to be that balance, and that's what we were
(32:17):
talking about earlier with thecadence of releasing these
chopped up videos, therepurposing of those videos.
There has to be some sort ofbalance, some sort of cadence.
And you mentioned maybe everythird or fourth post, making
something a little bit morepersonal.
Do you calculate it down to thetype of posts?
Like, do you have?
Tony Scott (32:37):
a system.
Can you tell?
Jay Franze (32:38):
us what that system is.
Andy Gesner (32:40):
It's like daily to quote a great song from 50 years
ago anticipation so we know, weknow the song is coming out may
4th, may 4th, big day.
(33:08):
So we're teasing it, we'reteasing it and just, you have to
keep a consistent vibration outthere, because if you don't
emote a vibration that you areseriously passionate, passionate
about this new song and newmusic video, how do you expect
anyone else to be passionate andexcited about your new song and
(33:33):
your new music video?
Jay Franze (33:35):
So if you're starting with anticipation, how
does that anticipation fit intothat cadence of the cycle of
release?
Andy Gesner (33:43):
Well, it's all about the big day, so maybe show
some of the opening stanzas ofthe music video and then show
maybe some cliffhangers at theend.
So, maybe some cliffhangers atthe end, but everything in a
humble way.
Just a reminder, a gentle nudge.
(34:05):
It's all happening on May 4th.
We talk about the call toactions and people are perplexed
by the call to action and Iexplain it simply.
It's like, given the choicebetween doing something and
doing nothing, vast majoritywill do nothing.
So we're going to put a littlething at the top that just says
(34:27):
hey, love to know what you thinkof the new video.
Your opinion counts.
Please, share, no, like,subscribe, follow, buy me a
sandwich.
It's like ridiculous.
No, be humble, be a humblecreative and just say, look, I
put a lot of time into this show.
(34:48):
I mean, look at all the greatpeople I've brought you.
Please, you know, leave me somemore comments, give me some
more feedback.
It really works, because youare that kind of person that is
showing the world that, hey, I'mbearing my soul to you.
Let me know what you think,that's all.
Jay Franze (35:10):
Well, you mentioned in there.
You mentioned the likes.
So, since the world has becomeset on likes and downloads and
streams, what are metrics thatyou feel are important to
success?
Andy Gesner (35:30):
You're going to continue to create musical art.
You always want to keep youreye on the prize, and the eye on
the prize is your new set ofsongs.
So don't get distracted, don'tbe too precious about any of it.
Jay Franze (35:50):
Stay focused on the music.
One of my favorite bands that Ilisten to these days is Five
Finger Death Punch.
Can you tell me about the videothat you promoted for them?
Andy Gesner (35:58):
I can.
There's so many great stories,just those moments being right
place right time, let's keep itlimited and just give us 26 of
those okay, uh, five fingerdeath punch, 2006 first video,
the bleeding, and, just like somany of the bands of the era,
(36:20):
you could just feel the energyand interviewing them, you knew
that they had it in them tobreak through.
And by the time we got to 2012,we had promoted six, six, five
Finger Death Punch also terrificfan and just to see them
continuing to fight the goodfight is terrific did you have
(36:43):
any challenges working with them?
none, none.
The bestest guys they.
They showed love to thoseshowing love to them or
advocating for them.
A very warm, loving family ofguys we had bruce ryder on the
show.
Jay Franze (37:02):
He's their front of house sound guy and he couldn't
have been nicer.
He had nothing but nice thingsto say about them.
He invited me out to the showand I got to meet the band and
sit there and have lunch withthem and they were nothing but
nice guys.
So I have nothing but goodthings to say about them.
Good to hear that you've hadnothing but good things to say
as well.
So if you didn't havechallenges with them, I'm sure
(37:25):
there had to be some challengesalong the way.
Can you tell us about achallenge that you may have had?
Andy Gesner (37:31):
Sure, it was 2003.
I get the call.
This is back in the phone calldays and I had been pleasantly
persistent with the bands andartists and labels that I was a
fan of, and one was of courseLost Highway.
So it's January of 2003 and thephone rings with the 615.
(37:53):
I'm like hello, so they have anew video.
It's from Johnny Cash.
So my I'm like y'all hit thefloor.
He said yeah, but there's aproblem In the video.
He doesn't look too good.
I'm like and they're like, andit's not his normal Johnny Cash
kind of repertoire, it's a nineinch nails, okay, okay.
(38:17):
And the next day we saw thevideo and I called and I said
we'd be grateful for theopportunity.
And it was 22 years ago and Ican only say we were the ones
advocating for Johnny there.
I still think it's the mosticonic music video of a cover
(38:39):
song of all time.
Jay Franze (38:43):
All right, sir.
Well, we do this thing here wecall Unsung Heroes, where we
take a moment to shine the lighton somebody who's worked behind
the scenes or somebody who mayhave supported you along the way
.
Do you have anybody that youwould like to shine a little
light on?
Andy Gesner (38:55):
Sure, Probably just having a team of people.
Mike rock and roll drummer Methim back in the days when I was
booking shows in New Brunswickand Hoboken and Asbury Park Band
was Hero Pattern and they weregreat.
As a bass player, I've alwaysfelt an affinity to drummers.
(39:19):
I like drummers.
He's been here 16 years.
Then there's Rebecca.
Rebecca is our director ofmarketing and communications.
Lots of info and she's able tohandle it all.
And then we have Hannah, wehave Catherine, we have
Francesca.
(39:39):
We have a lot of fun.
All right, sir, Well, we'vedone it.
Jay Franze (39:41):
We have a lot of fun .
All right, sir.
Well, we've done it.
We have reached the end of theshow.
So if you have found value intonight's show, please tell a
friend and, as we say, if youdid not tell two, you can also
reach out to both of us over atjfranzycom, where we'd be happy
to keep this conversation going.
Andy, sir, I cannot thank youenough for being here tonight,
(40:04):
and I would like to leave thefinal words to you.
Andy Gesner (40:05):
Thank you, jay.
Continue to fight the goodfight, really inspiring, giving
voice to the voiceless here.
Definitely stay tuned to theJay Franzi Show.
Jay Franze (40:16):
You are awesome, sir , On that note have a good night
.
Tony Scott (40:20):
Thanks for listening to The Jay Franzi Show.
You are awesome, sir.
On that note, have a good night.
Welcome to The Jay Franze Show, a
behind-the-curtain look at theentertainment industry, with
insights you can't pay for andstories you've never heard.
Now here's your host, JayFranze.
Jay Franze (00:33):
And we are coming at you live.
I am Jay Franze and this isyour source for the latest news,
reviews and interviews.
So if you would like to join in, comment or fire off any
questions, please head over tojayfranze.
com.
All right, folks, tonight wehave a very special guest with
us.
We have the owner and presidentof Hip Video Promo, hailing
(00:55):
from the great state of NewJersey.
We have Andy Gesner.
Andy sir, how are you?
Andy Gesner (01:02):
Jay, fantastic, very grateful you've invited me
to be a guest on the Jay FranziShow.
Jay Franze (01:10):
I'm excited to have you here, buddy.
I'm always interested intalking about music marketing,
so why don't we just jump rightin?
Let's start with can you tellus a little bit about the value
of creative storytelling when itcomes to making a successful
video?
Andy Gesner (01:33):
Well, now more than ever, people listen with their
eyes and, in many ways, thestory you tell in your song can
be amplified considerably bybeing able to tell a good story
in a visual.
It's my humble opinion that thevisual is the cornerstone to
(01:55):
your identity, and it can alsoshow off your chops when it
comes to your creative efforts.
When it comes to your creativeefforts, you put all this time
and effort into creating awell-crafted, fully realized
song, and when you're an artist,you actually are your story,
(02:16):
and never before, jay, has itbeen important that independent
artists are able to tell storiesaround their music.
Jay Franze (02:27):
Can you give us an example of a time when an artist
came to you with a song andwanted to put a video together,
but didn't quite understand theconcept of creating that story?
Andy Gesner (02:40):
I've always told the clients they need to go to a
dark room, close their eyes,listen to the song the way we
used to, with very few otheroptions to consume your music,
and we used to imagine what wesaw or what was the vision of
(03:05):
the artist.
And I always suggest, likeCasey Kasem used to say, just
keep your feet on the ground,but pie in the sky in a perfect
world, unlimited funds, what doyou see?
And once they've completed that, they have to do it a second
(03:27):
time.
So they're coming to us withideas and after 20 years of
playing music, I enjoy workingwith clients because we do also
have a production arm of hip inmaking sure we tell their story
and we realize their vision.
Jay Franze (03:50):
When you say pie in the sky, somebody comes in.
Has anybody ever come in withthis outrageous thing?
That could never beaccomplished.
Andy Gesner (03:59):
Yes, but just like in negotiating, Jay, you start
at the top and you work your waydown.
Jay Franze (04:07):
So tell us, tell us what happened, what was the idea
?
Somebody came to you with.
Andy Gesner (04:13):
Just today.
It's going to be difficult.
So it's a young lady in LosAngeles and she just moved there
from elsewhere and of coursethat's an incredible culture
shift just to begin with, andshe's there in January.
(04:36):
So she wrote a song calledDance in the Fire and it's
pretty heartfelt.
I think when you experiencesomething, there is much more of
a visceral urge to tell thatstory with your fans, your
audience, your family.
So they have employed us tomake a lyric video, but they
(05:01):
want footage from the fire.
But they want footage from thefire.
So I see myself tomorrowcalling KTLA, KCAL, Fox 11.
Okay, this is going to be for agood cause, to help the people
of the fire.
Can we use some of your footageNow, Jay?
(05:22):
You and I both know thatcopyright people, especially
nowadays, they're not going tolet you get away with anything.
And even if we get the okayfrom the TV stations, how am I
going to call YouTube and tellthem they've made a mistake?
Jay Franze (05:42):
Right, we used to battle with that with our theme
song.
We had a band that licensedtheir theme song to us and it
was awesome and it was great,but every time we ran it on
YouTube they flagged us forcopyright violation, even though
we had the right to use it.
So I completely understand that.
So what is your negotiationtactic going to be with this
artist?
Andy Gesner (06:03):
There is a dojo karate studio in Palisades that
burned down and now the kidshave no place to go, so they're
doing it makeshift.
But Kendra, she wants to helpand she wants to donate and she
(06:32):
came up with the idea let's do abig fundraiser and we can
invite all the famous people andat that show we're or event
they're going to play the lyricvideo and that'll be the big
world premiere.
I think the best part of musicmarketing is that, if it's 20%,
the great music, the great song,all the time and effort.
(06:56):
I don't know, jay.
I'd like your opinion.
Is it really 80%?
How you're able to get it outto the public.
Jay Franze (07:07):
I would think you spend the majority of your time
trying to get stuff out to thepublic.
We used to say that all thetime when we were creating music
, that you're going to spendthis certain amount of time
creating the music, but thenyou're going to spend the next
two years promoting that music.
So it could be anything fromtaking it on the road to putting
music videos together, to doingthe interviews and so on.
(07:28):
So, yes, you're going to spendmuch, much more of your time
promoting the music than you areactually making the music.
So, as we talk about this inthis negotiation that you're
doing with Kendra to give backto this karate dojo Now, does
that open up the doors for youto use some of that footage or
(07:50):
to get footage from people tohelp out with this video?
Andy Gesner (07:55):
What do you think this idea?
Instead of going with whatmight be your six o'clock or 11
o'clock news, we go with actualfootage from the people's phones
who lived it.
Jay Franze (08:08):
Right, because then it's not copyrighted.
Well, it's copyrighted materialfor them, but nobody's seen it.
So nobody knows that thatfootage exists and they're not
going to be able to flag it.
So if you do get it licensed toyou, nobody's going to know
where it came from.
So have you taken that approach?
Have you started that process?
Andy Gesner (08:26):
Well, they are West Coast, so the call was at 630
this evening, so I think I'mgoing to put it on my to-do list
for tomorrow.
Jay Franze (08:38):
All right, fair enough.
Well, I know you've done a lotof work with famous artists and
one of them I want to talk aboutlater because it happens to be
one of my favorite artists.
But before we get there, canyou tell me what you're able to
do with an artist these dayswith a lower budget?
Andy Gesner (09:29):
People figure the price of admission for a music
video promotion ranges aroundwhat might be a smaller budget
radio promotion budget music andhas lived it, breathed it,
sweated, bled it.
I would rather undercharge andover deliver Because, even
though you make a little less oneach project, the clients feel
the ROI is just so not to beignored, that they're already
working on a new music videobecause they've ditched the
radio.
They've ditched the radio andthey're saying you know, we're
(09:52):
going to take those marketingresources and figure out a
better way to connect with apotential community that we can
build and grow.
And that is why, with everycampaign, we help the clients
with the social media marketingand the creation of content, and
(10:16):
many perish due to lack ofknowledge and all it takes is
just someone you can trust whocan like take you through the
process.
The biggest issue is that for alot of these independent
artists, if it's dressed inoveralls and it looks like work,
(10:39):
you're not going to do it.
Jay Franze (10:43):
All right, so let's start there.
Then I'm an artist, I come toyou, walk me through the process
.
All right, so let's start there.
Then I'm an artist, I come toyou, walk me through the process
.
What do we do from the day Ihit your doorstep to the day
that we're finished with theproject?
Andy Gesner (10:53):
Well, first is the visual.
Even though we promoted 4,800music videos, I have probably
said no to a very large amount,because it's pretty clear to us
that in this world you never geta second chance to make a
(11:15):
client that their video is gooda good first impression.
When it's then to fit to himand tell him it is a good first
(11:49):
impression because number one itdoes not help the creative.
Maybe he needs to be told toditch that sorry ass
videographer and next time out.
You know, experience is a hardteacher.
She gives the test first andthe lessons afterwards.
Do it right there, sport, Imean, you really want to get out
(12:11):
of the gate with a big old headof steam.
Now nine out of 10 will be soappreciative that we aren't like
all the other marketing peoplethat'll just take your money and
do nothing.
So they're the people who calleight months or 11 months later
and say Andy, remember me, I'mBobby.
Yeah, remember you, told me my.
(12:34):
Well, let me tell you.
I appreciate it because now, inhindsight, retrospect, you were
right.
Now I've shot a new video, I'mgoing to send it to you.
I have saved the artist fromhimself.
I've topped him off a ledge.
I think I'm doing the big guy'swork there and then you start a
(12:55):
relationship on a basis oftrust.
Jay Franze (13:00):
So you've got that relationship.
Now you meet with the artist.
You earn their trust by lettingthem know the truth about their
video.
Tony Scott (13:07):
They go back.
Jay Franze (13:07):
They create something that now you both feel
is going to be successful.
What's?
Andy Gesner (13:11):
the next step.
We get the assets, so it's thevideo file.
We need the lyrics because wehave to close caption it.
Everybody gets it a differentway.
Some people need it digitallydelivered.
Other people would prefer toget a certain kind of file.
(13:35):
That is odd and peculiar.
But if you're promoting acouple hundred videos a year,
you figure it out.
A couple hundred videos a year,you figure it out.
And then there are those thatyou absolutely have to use a
company out of Toronto, canada,dmds.
What it basically stands for is, if you want to pitch to MTV or
(13:59):
BET Jams or Music Choice,you're going to have to go
through us and you're going tohave to pay a certain amount of
submission to present your videoto these decision makers
gatekeepers.
Jay Franze (14:15):
Again, that makes sense.
You have to have theconnections to do something Now,
whether or not it's a fair dealor not, that's to be said, but
somebody's got to be thegatekeeper.
I guess my question would bedoes that gatekeeper have a
relationship with MTV or CMT orwhoever else?
Is it a relationship that wasdesigned on purpose?
Andy Gesner (14:37):
It was.
They were receiving so muchgarbage, so much rubbish, total
riffraff, and they wanna look ateverything, they wanna give
everyone a fair shot, and it'sall done by committee.
So they hatched this plot.
Well, like, how can we make itas difficult as humanly possible
(14:59):
to get the videos into thismeeting?
And hence that new era was born.
And remember, if it's somethinglike BET Jam, sure they accept
the video, but then it goes tostandards and practices.
So then it gets bumped back tous and whether it's a blur or a
(15:23):
little twist on the off, it'sall part of a day at hip so when
you're doing that right.
Jay Franze (15:32):
So you've developed a relationship with them now.
So you're creating a one levelup relationship.
So now you're working with themso you know what they expect.
That's your.
Your value to your client isthat hey.
I know what they're looking for.
So let me go ahead and help youget to that point, especially
(15:54):
when you have to convincesomebody to go and reshoot a
video, which could be a veryexpensive process.
So you do that and you'vecreated that relationship.
You've upped their videoquality.
Now you're taking it to thesepeople that you have this
relationship with.
What's the next step from there?
Andy Gesner (16:11):
Well, you've got to tell the client's story.
Every video gets a storybecause it's almost like reading
the back of the cereal boxwhile you're eating your cereal.
People want to know, a who areyou, b what makes you special
and, most importantly three, whyshould I pay attention?
(16:37):
So, as a former journalism andmass media major, I want each
story to end so that the readerhas no other visceral urge than
to go watch this video.
So we're now over 4,800 timeswriting these and a couple
(17:01):
things become very clear.
The artists themselves they arenot the person to tell the story
.
The older brother, who is anauthor no, he's definitely not
the guy to do it.
The bio writer for 350,.
(17:22):
It's amazing because we sendthese proposed one sheet press
release to the client andthey're just floored in the
sense that they've neveractually looked at what they are
and what they do and what theirmotivation is from an outward
(17:43):
view, because we all know a lotof these interviews,
interviewers they don't do theirresearch.
How many times have we gone tothe newspaper on Friday to see
the big article that we had togo?
Oh, and the guy just calls itin.
It's terrible.
So, yes, telling the story iskey.
(18:04):
Then we send a social mediaoptimization guide with all the
tips and things they should doto optimize their online
platforms, and it's kind of liketaking your vehicle and did the
detailing shop before the bigcar show and then it's all set
we have to get an exclusiveonline world premiere.
(18:24):
So some will politely pass,others will say it doesn't fit
their filter, but it's all aboutthe big day when the video
comes out and it's definitelyall hands on deck.
You want to make a big splashand get a lot of people excited
(18:46):
about it.
So it very much is aparticipatory sport, as in.
The artist really has to levelup and realize that.
You know, this is like hittingthe beaches at Normandy.
I put all this time and effortin.
We got to win this battle bigtime.
So we are cheerleaders, we arementors.
(19:10):
I guess we are the shoulder tocry on when you have a problem
or someone messes with theirFacebook page or they can't
remember their password.
I mean you just hear everyreason why an artist is feeling
frustrated.
Jay Franze (19:30):
Before we get off the subject of this origin story
that you're talking about, whatare some qualities that make up
a good origin story?
Andy Gesner (19:39):
I think that the best thing these people can be
in life is themselves, so theyreally have to share with us.
What is your motivation?
Why are you even doing this?
And it really forces the artistto think a little bit more
about what it is that he'sbringing to the world.
(19:59):
I mean, we all listen to musicto feel a way we'd rather be
feeling.
So what is it?
And so I think it's importantthat, because everything is so
now, story driven, people shouldreally take some time and
effort and figure it out.
Jay Franze (20:22):
So again, we talk about all this.
You talk about all this.
You talk about authenticity.
Do you ever have a strugglebetween the authenticity and
imagination?
Andy Gesner (20:36):
well, I tell the clients because a lot of them
want to try to stay humble.
I really don't want to have topost every day, I'd just rather
have people appreciate me for mymusic.
Jay, we ain't in that worldanymore.
Jay Franze (20:56):
You're starting to talk more about the social media
world, so why don't we go aheadand take that path for a minute
then?
Okay, so when we talk aboutsocial media, especially these
days, when we're talking aboutvisual content, there's a
struggle between the short formand the long form, and in the
world of music video, long formis only three, three and a half
(21:17):
minutes and short form is 30seconds.
So how do you see those twoplaying nicely together in the
sandbox?
Andy Gesner (21:28):
Well, I would contend that the most frequently
asked question has been Andy,why is everyone saying don't
waste your money on a sorryofficial music video?
(21:53):
Just all short form content, mm, hmm, okay, maybe for a little
while, but I think there willalways be a market for the full
and complete book.
We don't want the freakingcliff notes.
Jay Franze (22:15):
It's debatable, right?
So for somebody like myself, Iwant the full book, I want to be
able to see the full video, Iwant to listen to the full song
and in some cases I want tolisten to it on repeat so I can
pick up the little nuancesthrough it and really take it in
.
But that's the generation thatI was brought up on.
So generations.
(22:36):
These days I have threedaughters I don't know if
they've listened to an entiresong ever.
My older daughter, the oldestof the three.
She has now gotten intopurchasing vinyl, which I could
not be happier.
She's making herself a littlecollection and she puts it on
and listens to it from start tofinish, and now she has album
(22:56):
art that she can take and lookat, read liner notes.
She gets the experience that Ihad when I was a kid.
But most people these daysdon't take that experience.
They see the videos on socialmedia and what kills me these
days is kids are posting videoswith their songs sped up so they
can get through them quicker.
(23:16):
So I mean, how do you fightthat when you're creating these
long form videos?
Andy Gesner (23:23):
I think that there's always going to be a
market for music videos, sothere's no fighting it, and I
would say that, no, you don'thave to spend the big bucks on a
music video anymore.
I'm sure, jay, you are veryfamiliar the days where you were
(23:48):
required, or would look like us, to shoot a music video on film
.
Jay Franze (23:56):
Yes, of course.
I used to work with a videocompany out of Boston and we
started on film and it was astruggle to switch to digital
media.
Andy Gesner (24:07):
And there were beta SP tapes three quarter inch.
Jay Franze (24:14):
Yep, so you were talking about budget and putting
together a video these days,and you even mentioned lyric
video earlier.
Lyric video seems to be thelowest a video these days, and
you've mentioned lyric videoearlier.
Lyric video seems to be thelowest common denominator these
days.
My opinion.
Not the best way to go, but itdoes give an artist an ability
to get something out there.
So let's take it a step beyondthe lyric video.
(24:35):
Give us some examples of whatwe can do with a low budget when
it comes to making a video.
Andy Gesner (24:41):
I think it's to make a human connection.
Jay Franze (24:52):
I think of some of the videos we've promoted that
were very low budget and theresults were phenomenal.
What would be a good budget forus to reach?
Andy Gesner (24:59):
What's a goal?
Well, I think that, uh, for themost part, when it comes to
music videos, I'm not quitecertain whether you have to
spend five figures.
If you've got a goodvideographer who has proven, I
tell clients you really have tolook at, okay, who has the
(25:22):
person worked with?
Can I watch some of his work?
And you want to be with avideographer that's got the
opportunities that you're goingto be able to have your input
and have some creative vision init and have some creative
vision in it.
So I would think some of thevideos we're getting are done on
(25:43):
a phone, not on a shoestringbudget, but there they are on
MTV, spankin' New or BET Jams.
I think you've got a situationwhere, if you've got a great
song and great music will alwaysfind an audience, you've got an
opportunity to build your fanbase and grow your community.
Jay Franze (26:06):
So when we're talking about it from a
marketing point of view and youget this video in your hands, is
it like any other form of media?
Do you feel like you can takethat video and then chop it down
into smaller pieces for socialmedia so you can repurpose the
video into video clips?
Do you have a strategy when itcomes to repurposing clips?
Andy Gesner (26:31):
Well, I think that we have a lot of clients who
will do a 60 day plan.
We call it the 60-day grind andwe were chatting in October,
november, how they plan to havefive, they plan to have six,
(26:52):
they're going to have fourreleases in 2025.
So I very much take the shampoorinse, repeat, repeat approach
because nowadays that's the onlyway you're going to get the
kind of traction that will makeit so you can do music and
nothing else.
So for a lot of our clients, weare starting round two here in
(27:15):
April and you don't have to haveyour visuals figured out to
keep that momentum going.
All you have to do is know thatconsistent, sustained promotion
is going to win out in the end.
Jay Franze (27:33):
All right.
So you're taking these socialmedia clips and you're
generating what I can onlyassume is several of them and
you're dispersing them at aparticular rate of time to get
them out there and keep peoplemotivated.
Andy Gesner (27:49):
So is that rate of?
Jay Franze (27:50):
time daily.
Andy Gesner (27:52):
We have clients who will post two or three times
daily.
It's something that we havestruggles with, because you've
got to keep that vibrationconstant.
And well, I don't want to usethe word constant, no,
consistency, consistency is thekey.
Jay Franze (28:16):
So, from the fan point of view, I follow several
bands and a lot of independentbands as well, and what I see
happening, especially with theindependent artists, is they put
a single together, they createa video and then they write it
to death.
So just like I guess what usedto be on the radio when you
(28:39):
would hear that song once anhour, now I'm hearing that same
song in a video, whether it besocial media, the full video or
just the repurposed clips.
I'm hearing that same song overand over and over again, all
day, every day.
So do you ever run into achallenge of creating listener
(29:01):
fatigue?
Andy Gesner (29:03):
Well, how about some of those songs you speak of
from bands you respect andadmire?
And because they're beating youover the head with it, it's
having a negative impact.
Jay Franze (29:17):
When a radio station plays a song an hour and even
when you love that song when itfirst came out, they can drill
it into your head so much that,even though you might still
think it's the best song on thealbum, you don't want to hear it
anymore.
So how do we keep a new band,an indie band, from creating
that fatigue and still promotingtheir music?
Andy Gesner (29:50):
Well, I think you have to keep a keen eye on your
audience.
You do have to experiment withtiming.
I think that a lot of clientsthey're not including the
personality posts, and thepersonality posts are maybe
every fourth or fifth.
Show folks that you're a humanperson.
(30:13):
You know a lot of people willlike your music, but then if
you're not afraid to show folkswho is the real artist, they're
going to like you too.
And then you've got someone whowas a fan and now they are a
super fan.
So you and I both know athousand super fans.
(30:36):
You're off to the races,absolutely.
Jay Franze (30:39):
Well, you make a very good point when you talk
about letting them get to knowyou as a person, so you're part
of the development of thesesocial campaigns.
How are you helping them torelease these videos as a person
?
What kind of direction do yougive them?
Andy Gesner (30:59):
Well, we ask them what they are passionate about,
and for a lot of people that's areal head scratcher.
What are they passionate about?
And then, of course, they'llsay well, I'm passionate about
my music and I'm like jackass,we're talking other things in
(31:20):
your life.
Well, I don't want to show myfamily.
No, I'm not talking showingyour family Now for me, okay,
I've been waiting all year.
I like sharing my garden.
Now people said no one wants tosee your garden.
You're going to see the garden.
It's, it's all happening, it'sall coming, and people will see
(31:43):
that I'm I'm excited about thegarden and people need a post to
brighten their day.
And then you show them thepretty flowers and you're a hero
.
Jay Franze (31:56):
That's true.
When I post something that'scompletely off topic, it gets a
lot of attention.
But it's getting a lot ofattention because it's that one
splash of color in a world ofblack and white.
So if you were to then startoverdoing that, then it goes in
the other direction.
So there has to be that balance, and that's what we were
(32:17):
talking about earlier with thecadence of releasing these
chopped up videos, therepurposing of those videos.
There has to be some sort ofbalance, some sort of cadence.
And you mentioned maybe everythird or fourth post, making
something a little bit morepersonal.
Do you calculate it down to thetype of posts?
Like, do you have?
Tony Scott (32:37):
a system.
Can you tell?
Jay Franze (32:38):
us what that system is.
Andy Gesner (32:40):
It's like daily to quote a great song from 50 years
ago anticipation so we know, weknow the song is coming out may
4th, may 4th, big day.
(33:08):
So we're teasing it, we'reteasing it and just, you have to
keep a consistent vibration outthere, because if you don't
emote a vibration that you areseriously passionate, passionate
about this new song and newmusic video, how do you expect
anyone else to be passionate andexcited about your new song and
(33:33):
your new music video?
Jay Franze (33:35):
So if you're starting with anticipation, how
does that anticipation fit intothat cadence of the cycle of
release?
Andy Gesner (33:43):
Well, it's all about the big day, so maybe show
some of the opening stanzas ofthe music video and then show
maybe some cliffhangers at theend.
So, maybe some cliffhangers atthe end, but everything in a
humble way.
Just a reminder, a gentle nudge.
(34:05):
It's all happening on May 4th.
We talk about the call toactions and people are perplexed
by the call to action and Iexplain it simply.
It's like, given the choicebetween doing something and
doing nothing, vast majoritywill do nothing.
So we're going to put a littlething at the top that just says
(34:27):
hey, love to know what you thinkof the new video.
Your opinion counts.
Please, share, no, like,subscribe, follow, buy me a
sandwich.
It's like ridiculous.
No, be humble, be a humblecreative and just say, look, I
put a lot of time into this show.
(34:48):
I mean, look at all the greatpeople I've brought you.
Please, you know, leave me somemore comments, give me some
more feedback.
It really works, because youare that kind of person that is
showing the world that, hey, I'mbearing my soul to you.
Let me know what you think,that's all.
Jay Franze (35:10):
Well, you mentioned in there.
You mentioned the likes.
So, since the world has becomeset on likes and downloads and
streams, what are metrics thatyou feel are important to
success?
Andy Gesner (35:30):
You're going to continue to create musical art.
You always want to keep youreye on the prize, and the eye on
the prize is your new set ofsongs.
So don't get distracted, don'tbe too precious about any of it.
Jay Franze (35:50):
Stay focused on the music.
One of my favorite bands that Ilisten to these days is Five
Finger Death Punch.
Can you tell me about the videothat you promoted for them?
Andy Gesner (35:58):
I can.
There's so many great stories,just those moments being right
place right time, let's keep itlimited and just give us 26 of
those okay, uh, five fingerdeath punch, 2006 first video,
the bleeding, and, just like somany of the bands of the era,
(36:20):
you could just feel the energyand interviewing them, you knew
that they had it in them tobreak through.
And by the time we got to 2012,we had promoted six, six, five
Finger Death Punch also terrificfan and just to see them
continuing to fight the goodfight is terrific did you have
(36:43):
any challenges working with them?
none, none.
The bestest guys they.
They showed love to thoseshowing love to them or
advocating for them.
A very warm, loving family ofguys we had bruce ryder on the
show.
Jay Franze (37:02):
He's their front of house sound guy and he couldn't
have been nicer.
He had nothing but nice thingsto say about them.
He invited me out to the showand I got to meet the band and
sit there and have lunch withthem and they were nothing but
nice guys.
So I have nothing but goodthings to say about them.
Good to hear that you've hadnothing but good things to say
as well.
So if you didn't havechallenges with them, I'm sure
(37:25):
there had to be some challengesalong the way.
Can you tell us about achallenge that you may have had?
Andy Gesner (37:31):
Sure, it was 2003.
I get the call.
This is back in the phone calldays and I had been pleasantly
persistent with the bands andartists and labels that I was a
fan of, and one was of courseLost Highway.
So it's January of 2003 and thephone rings with the 615.
(37:53):
I'm like hello, so they have anew video.
It's from Johnny Cash.
So my I'm like y'all hit thefloor.
He said yeah, but there's aproblem In the video.
He doesn't look too good.
I'm like and they're like, andit's not his normal Johnny Cash
kind of repertoire, it's a nineinch nails, okay, okay.
(38:17):
And the next day we saw thevideo and I called and I said
we'd be grateful for theopportunity.
And it was 22 years ago and Ican only say we were the ones
advocating for Johnny there.
I still think it's the mosticonic music video of a cover
(38:39):
song of all time.
Jay Franze (38:43):
All right, sir.
Well, we do this thing here wecall Unsung Heroes, where we
take a moment to shine the lighton somebody who's worked behind
the scenes or somebody who mayhave supported you along the way
.
Do you have anybody that youwould like to shine a little
light on?
Andy Gesner (38:55):
Sure, Probably just having a team of people.
Mike rock and roll drummer Methim back in the days when I was
booking shows in New Brunswickand Hoboken and Asbury Park Band
was Hero Pattern and they weregreat.
As a bass player, I've alwaysfelt an affinity to drummers.
(39:19):
I like drummers.
He's been here 16 years.
Then there's Rebecca.
Rebecca is our director ofmarketing and communications.
Lots of info and she's able tohandle it all.
And then we have Hannah, wehave Catherine, we have
Francesca.
(39:39):
We have a lot of fun.
All right, sir, Well, we'vedone it.
Jay Franze (39:41):
We have a lot of fun .
All right, sir.
Well, we've done it.
We have reached the end of theshow.
So if you have found value intonight's show, please tell a
friend and, as we say, if youdid not tell two, you can also
reach out to both of us over atjfranzycom, where we'd be happy
to keep this conversation going.
Andy, sir, I cannot thank youenough for being here tonight,
(40:04):
and I would like to leave thefinal words to you.
Andy Gesner (40:05):
Thank you, jay.
Continue to fight the goodfight, really inspiring, giving
voice to the voiceless here.
Definitely stay tuned to theJay Franzi Show.
Jay Franze (40:16):
You are awesome, sir , On that note have a good night
.
Tony Scott (40:20):
Thanks for listening to The Jay Franzi Show.
You are awesome, sir.
On that note, have a good night.
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