1h 56m 11 min read 6,263
Common Content Mistakes for Reels & Shorts (live)
Chris Do dissects common content mistakes, proving why emotional resonance and strategic unpredictability are the keys to audience connection.
Chris Do
Founder, The Futur™ · September 3, 2025
The Predictability Trap
Your work is good. The craft is undeniable. Your process is dialed in. And your audience is leaving.
This is the quiet crisis facing countless creators and brands. They achieve a level of proficiency and build a system that delivers consistent results. Then, they repeat that system, believing consistency is the goal. It is not. Consistency is the floor, not the ceiling. The real enemy of growth is not failure. It is predictability.
Consider the work of Chummy’s Customs, a studio founded by Colin and led by CEO Chris. They are the originators of a unique craft: deconstructing sports jerseys and reconstructing them into bespoke sneakers. They call them “trophy shoes,” tangible links between a fan and their favorite team. Their work is slick, the execution is clean, and they have a proven model for their content: a process-driven video showing a shoe coming to life, often tied to a major sporting event.
They have viral hits, with some videos cresting a million views. But the baseline for most posts is a modest 5,000. During a live content critique, Chris Do zeroes in on the problem after watching just a few of their videos. “After a while,” Do notes, “it becomes, and I'm sorry to say this if this hurts you a little bit, it becomes a little predictable.”
He continues, laying the problem bare. “I watched two or three of these things. I feel like I've watched them all now at this point. I'm just waiting for my team to win or to be in the playoffs.”
This is The Predictability Trap. It’s what happens when a successful formula calcifies into a rigid template. The audience learns the pattern, and once they know how the story begins and ends, the tension is gone. And without tension, there is no story.
Do’s first challenge to the Chummy’s team is a call to introduce strategic chaos into their consistent system. “I think you have to be able to do this in a way where the structure is consistent, but the outcome is not exactly predictable.”
How? By changing one variable at a time.
- Change the Canvas: Instead of exclusively using the same Nike silhouette, switch the shoe model. A different shape presents new design challenges and a fresh visual for the audience. “Even that will just change the game for you,” Do advises. “Gives you different panels to work with, gives you a different silhouette.”
- Change the Materials: The jersey is their signature, but what if they incorporated other materials? What if they used game-worn footballs, sections of a basketball, or even vinyl from an event banner? The possibilities are endless.
- Change the Technique: Experiment with new methods of construction and embellishment. Do suggests exploring things like Vantablack, the famously super-black paint that absorbs over 99.9% of visible light, to create a surreal, 2D effect on a 3D object. The point isn't that every experiment must become a permanent feature. The point is to show the audience you are still exploring, still pushing, still surprising yourself. And therefore, still worth watching.
The goal is not to abandon the structure that works. It is to inject enough novelty into that structure to keep the audience guessing. “Good structure,” Do concludes, “but a surprising outcome.” That is the formula for escaping the trap.
The Currency of Human Connection
Technical skill is impressive, but it doesn't make us cry. Flawless execution earns respect, but it rarely earns love. The most powerful content doesn't just show a process; it reveals an emotion.
This is the second, and arguably most important, shift Do urges upon the creators at Chummy’s Customs. Their content is centered on the object: the shoe. Do argues it should be centered on the human reaction to it.
“Where's the emotion?” he asks directly. “What's the part you can control?”
He points to the science. “There's something called mirror neurons in our brains,” Do explains. “If I smile and I'm laughing and I'm experiencing joy... inside you're mirroring what's happening that you're seeing. This is why when we watch movies, when the character gets choked up and they start crying, we start to cry. We can't even control it because we're mirroring.”
Mirror neurons, first discovered in the 1990s, are a class of brain cells that fire both when an individual performs an action and when they observe someone else performing the same action. They are the neurological basis for empathy, allowing us to feel what others feel. When you create content that captures a genuine human emotional response, you are not just telling a story; you are inviting millions of people to feel that story in their own bodies.
The current Chummy’s videos are emotionally sterile. A shoe is cut, sewn, and presented. It's a demonstration of craft. But what if the story wasn't about the shoe at all? What if the shoe was just the catalyst for a much more powerful story?
Do paints a picture. “You can go to some young kid, you know, maybe not an affluent person, say, ‘What's your favorite team?... I have an idea for you. You can meet me back here tomorrow. I'm going to make you something.’ And you give it to him. He's like, ‘Oh my god...’ That's the emotional reaction.”
This transforms the content from a product demo into a human story. It builds narrative tension. It delays the reveal. It creates a protagonist (the deserving fan) and a moment of catharsis (the emotional unboxing). This is the architecture of all great storytelling, and it can be applied to a three-minute social video. For more on creating work that truly connects, see Do's breakdown in How to Build Content People Actually React To.
This leads to a larger concept Do calls The Giving Economy.
“People talk a lot about the attention economy,” he says. “But I think we're shifting towards the giving economy. People will make more money by doing good in the world than they actually could sell services.”
He references the explosive growth of creators who mow lawns for the elderly or fix homes for free. They are not charging for their services. Instead, they are documenting an act of service, and the audience response, brand deals, and follower growth far exceed what they could have earned from a single paid job. The economics are inverted.
“Do not underestimate this,” Do warns. The value isn't in the shoe; it's in the act of giving the shoe. He suggests taking it even further, to places of profound need and joy. “Make a Wish Kids... you're like, ‘Dude, we made you something.’... I'm already crying just thinking about it, you guys.”
It’s a powerful reminder: Emotion isn’t a soft, optional layer to add to your content. It is the entire point. In a world saturated with sterile, predictable content, a moment of genuine human feeling is the scarcest and most valuable commodity of all.
Don't Run From a Winner
There is a classic symptom that afflicts almost all creative people. Do diagnoses it with brutal accuracy: “This worked really well. Let's do something different.”
The team at Chummy’s Customs admits they have a prime example. They produced a video for Coca-Cola during the FIFA World Cup that amassed 15 million views. Do presses them: why did it work?
“It was different,” Chris from Chummy’s explains. “It was like, let me go on a hunt at the FIFA game... the storyline of what Colin is doing and then the surprising moments with Jamar Chase and how we had the kid reaction.”
Do pauses, letting the admission hang in the air. “Everything that you're saying is like, it's all... it’s worked already, but I don't think that we knew why or paid attention to why it works.”
This is the critical failure point for so many creators. They strike gold, enjoy the rush of a viral moment, and then, driven by either boredom or a misunderstanding of the underlying principles, they immediately wander off in a new direction. They treat success as a lottery ticket instead of a blueprint.
“Creative people feel stifled and choked when they do the same thing over and over again,” Do observes. “So we have to put that person, that personality, in the timeout box and say, you know, you be quiet right now. This worked. We need to do this again and again and again.”
The directive is not to make the exact same video. It is to codify the principles that made the video successful and apply them systematically.
The Coca-Cola video contained key elements that should have become the new playbook:
- A Quest: It wasn't a static, in-studio build. It was a hunt, creating movement and narrative drive.
- A Storyline: There was a clear objective, introducing an element of classic story structure.
- A Surprise: The interaction with NFL star Ja'Marr Chase and the reaction from a child provided unpredictable, emotional moments.
The lesson is simple. When you have a 15-million-view hit, your job is not to find the next new thing. Your job is to ask, “How do we change one variable about this and do the exact same thing again?” You must prove the well is dry before you go looking for a new one. This mindset is often the difference between a one-hit wonder and a sustainable brand, a topic explored in depth in Do's advice to STOP Trying To Go Viral... Do This Instead.
Creativity is not about endless novelty. It is about understanding what works and finding endless ways to apply that understanding. Don't run from a winner. Mine it until there is nothing left.
The Power of the Mashup
To break out of a creative rut, you don't always need a new idea. Sometimes, you just need to collide two existing ideas together. The energy released from that collision is often more powerful than anything you could have invented from scratch.
Do offers one final, advanced strategy to the Chummy’s team: the Strategic Mashup. He points to the chemistry between Taylor Swift and Travis Kelce, a power couple that merged pop music culture and professional sports. “Two worlds combined together blow both worlds,” Do says. The result was a cultural phenomenon where Swifties started learning the rules of football and NFL fans found themselves listening to Midnights. The intersection created a new, larger audience.
The current Chummy’s formula is already a mashup: a Nike shoe (sneaker culture) and a sports jersey (fan culture). That initial pop is what gave them their start. To reach the next level, they need to introduce a third, unexpected element.
“What would be really interesting to me,” Do muses, “is if you brought two things together… you use a jersey and you use a vintage Louis Vuitton bag.”
The image is electric. The juxtaposition of a utilitarian sports jersey with a luxury fashion item creates instant tension and intrigue. It elevates the shoe from a piece of fan memorabilia to a one-of-a-kind work of art. It merges street culture with high fashion, creating something entirely new in the process.
This principle of juxtaposition is a powerful creative tool. It forces the audience to see familiar things in an unfamiliar way. The opportunities are endless.
- Sport x Art: Collaborate with a street artist. Have them create a piece on a large canvas, then cut up that canvas to incorporate into the shoe. It becomes a limited-edition art piece, not just a custom sneaker.
- Athlete x Automobile: Take design cues from a famous athlete’s favorite luxury car. The specific leather, the paint color, the stitching patterns. It connects two worlds of high performance and design.
- Team x City: Incorporate elements that are iconic to the team's home city. The pattern of a subway map, the texture of a famous landmark, the colors of the city flag.
“Just bring two things, mash them up,” Do urges. “No one ever thought of that and it would be really, really cool.” This is how you move beyond being a service that customizes shoes and become a cultural creator that defines new trends. It’s a core principle for anyone trying to stand out, similar to the ideas discussed in Originality, Pricing & Success — What Creatives Get Wrong.
The mashup is a shortcut to originality. It leverages the existing cultural equity of two different worlds and combines them to create a third world that is entirely your own.
The Three-Second Test
The principles of engagement—avoiding predictability, leading with emotion, and creating tension—are universal. They apply just as much to a B2B strategist selling to construction company owners on LinkedIn as they do to a sneaker artist on Instagram.
This becomes clear in the second half of Do’s live critique, where he turns his attention to Stacy, an engineer-turned-business strategist. She creates content to connect with the owners of large construction firms, a notoriously busy and discreet audience. Her chosen platform is LinkedIn.
She submitted a nearly four-minute video. Do pauses it after the first few seconds.
The video opens with Stacy on camera, saying, “Beware of growth traps. A lot of people want to go right to growth and scale.”
Do stops the analysis. The problem is already evident. “We know that reels and shorts, the first three seconds really, really matter... 90% of energy has to be here otherwise we're not going to get me to watch this video.”
Stacy’s opening fails The Three-Second Test. It’s conceptually sound but lacks punch. It’s abstract. “Growth traps” is a generic business term that doesn't grab a CEO who has exactly five seconds to decide if a video is worth their time.
This is a classic case of The Expert’s Curse: being so deeply embedded in your own field that you forget others don't share your context or vocabulary. Stacy is a highly intelligent professional with decades of experience in engineering and construction. She knows the industry inside and out. But that expertise can become a liability in content creation.
“It's a danger for smart people,” Do explains. “People that are highly educated tend to speak above people's heads, not at where they need to be. If people don't understand what you say, then they can't follow you.”
Her video goes on to list ten foundational systems businesses need before scaling. It’s valuable, practical information. But it’s buried two minutes into a video that most of her target audience will have already scrolled past. When creating content for busy executives on platforms like LinkedIn, the approach must be different, as detailed in 2025 LinkedIn Strategies That Actually Work.
To pass The Three-Second Test and defeat The Expert's Curse, creators must:
- Lead with the Symptom, Not the Diagnosis. Instead of “Beware of growth traps,” start with a concrete, painful problem a CEO feels. “Hired ten new people and your revenue is still flat? Here’s why.”
- Be Specific and Provocative. Generic statements are invisible. A specific, challenging statement demands attention. “Your obsession with scaling is why you’re about to go broke.”
- Use “You” Language. Talk directly to the viewer. Frame the problem as their problem.
- Get to the Point Immediately. Do not waste time with long introductions or preambles. State the hook, then state the value proposition.
The challenge for any expert is to translate their complex knowledge into simple, powerful language. You are not trying to impress your peers. You are trying to connect with a potential client. Your content must be optimized for their attention span, not your own desire to demonstrate your intelligence.
Whether you're selling a custom shoe or a seven-figure consulting contract, the rules are the same. Hook the audience in three seconds. Give them a reason to care. And deliver on your promise with a story that has just enough surprise to keep them watching until the end.
TRANSCRIPT
Stay living in the right space. Breathing in your grace. Got me feeling some kind of way. [Music] Yeah, you're keeping me sane. Got me in my right brain. I can't explain, but I'm feeling some kind of way. [Music]
>> Okay, guys. It's been a hot hot minute since we've been live streaming to YouTube. Hopefully this is working and u un address is going to confirm for me in a little bit if we are live on YouTube. If there's any audio issues, let's resolve them before we actually get into the meat of the content. But in case you're joining us, first of all, thank you for being here. Welcome. We're going to be doing some live content reviews. We're going back to the old school like an old fool. That's how I'm going to do it. So don't drool. We're going to do this. And we have pre-selected a handful of people who submitted their content for review. And this is all an attempt to help you tune your content so that you achieve whatever result that you're going to achieve. Okay. So, we have a couple people on deck here. We have uh the folks from Chumies. I think it's Chum Chummies. Sorry, I didn't say that right. From Chummies. And there's two friends here, uh Chris and Colin. And we're going to review the content in a second. So, let's have a conversation with these two guys. Uh first of all, why don't you guys just quickly introduce yourselves and tell us your role in the company. And then we I'll just ask you a question. just as best as you can answer it succinctly so we can keep keep the show going.
>> All right. I'm Chris. I'm the CEO of Chummy Customs.
>> Yeah. And I'm Colin, founder and creator of Chummy's Customs.
>> Wonderful. Okay. What is Chummy's Customs?
>> So, it's a custom sneaker studio that does more than just create shoes. We create unforgettable moments and lifelong keepsakes. And what does that mean in terms of events, on-site activations, as well as sponsored content?
>> Okay. Um, last night I was reviewing some of your content. So, I'll explain it to folks and we will show you a little bit of their social content. So, you guys can see that in a second here. Let me clear out this thing so I can get into this. Is they'll take a pair of sneakers, usually Nikes. For some reason, they seem to be all Nikes, but I'm sure there are other shoes. And what they'll do is they'll take different patterns from sports jerseys and things like that. They'll cut them up. They'll sew them together to make something that feels thematically linked to what's going on. And I I I think these are commissions, right? If if I can deduce that.
>> Of course. Yeah, they're commissioned. And in fact, we are the original jersey making of the shoes.
>> Oh, okay. Are there a bunch of clones that do this now?
>> There are.
>> Yeah. Okay. This is a world that I'm not I'm not familiar with. So, it's all good. Okay. So, you guys are the original. And what is the what is the outcome that you want to get from the creation of of content? What is it you're trying to do? I think it's really about how do we engage sports fans to kind of really feel like they are closer to their favorite team or favorite sport or favorite company or brand. And so how do we do that through showing off like these shoes that we call trophy shoes? Okay. So, custom I'm going to just write here on my whiteboard. Custom trophy shoes. And what is the desired outcome? Fans feel more connected to their teams.
>> Correct. Uh and to the brand. It really is. It's is like these people want to wear not only wear these shoes, but they could be walking billboards because they're walking ambassadors of the company or the brand or the team or the player. Okay. So, I wrote down custom trophy shoes um equals fans love brands. Something like that. Yes. I know it's upside down for everybody. Sorry, it's just the way it's
>> Yeah. Yeah, I can see it.
>> Yeah. But I can hold it up here so you all can see. But as I write, this is my notebook here. Okay. And the reason why we create content and how how do we measure the amount of love that fans show to brands?
>> Well, in terms of purchasing shoes. So, for that's the long end. But then on on social it's it's the comments and the engagement around asking for like these types of shoot
>> engagement. Drigo, you want something?
>> I'll transfer how to change your camera.
>> Oh, you need to change my camera.
>> Okay. So, engagement. So, that would be uh views and then comments and then shares. Something like that. Right.
>> Right.
>> Okay. Uh what is the baseline and what's the benchmark? Baseline is what's the average and then what would you like to get it to
>> of of comment or engagement overall or
>> you tell me. You tell me what matters to you and I'll write it down.
>> What are we measuring?
>> Well, we we like views but we prefer comments and shares.
>> Okay. So, what we do is we always ask about the baseline. So, I'll write this here, baseline. And I'm going to take a little bit longer to talk to you versus just answering your question about content because I'm going to help a lot of creative people understand how to talk to potential clients or have a strategic business conversation. Notice we've not talked about any tactics. I just want to know what's important to you. So, when we said like the baseline, what's the average metric? You tell me. Uh views are like easy for us to look up. If you want to dig into your analytics, you can use that. I don't really care which one you use for the sake of our conversation. Pick one and let's stick with it.
>> Okay. I think if I were to choose comments, I mean, let's just go for views because I mean I it's easier to look up and it's also
>> so we but I think what do we call success? I think we call success 10,000 views or more.
>> Okay. What's the baseline?
>> Um,
>> you know what I mean when I say baseline?
>> I do, but
>> just thought it 5,000.
>> Okay.
>> Yeah,
>> that's cool. That's very realistic, actually. So, I I like that you said five. So, on a reel that you drop, you average about 5,000 views. If it gets more than 10,000, we're moving in the right direction. I see that you have ones that have a lot more views. The top three pinned things on your Instagram account have a million-ish, right?
>> Yes.
>> Yes. That's fantastic. Now, are are those that high? Because Well, sorry, let me not lead the witness. Sorry. Your honor, objection, leading witness. Um, why are those abnormally high? Um there's a few things and it usually it's because of viral levers like the the attention time that it was posted around maybe a major event or major moment.
>> Um the second thing is the actual whatever it is if it's a shoe again tied to a game. So, if Joe Burrow is playing and he just scored a major point or it's a Super Bowl, the shoes of that video is going to increase at that moment. If it's a Pringles chip, if it's a Pringles chip, then it's maybe because we just released it. Or if it's
>> or if it's Coke, then it's because it's kindly connected to the FIFA moment.
>> Okay, so we are talking about like it strikes the nerve. It's trending part of the cultural zite, guys, which you can't always predict, but it's not totally like random chaos, too. All right. So, we know there's an important sports. I need different colors. They're all black in that box. They're literally I I have black. Thanks. I need red and blue, please. Or green. Thank you. Drigo's helping me out with some colored markers here. Okay. So, we know that if it's tied to a cultural event that's happening, everybody's looking forward, then you're going to catch that wave, and that's very important. Anything else that's contributing things? Anything else that's contributing to that?
>> Well, at the very least, it's the behind the scenes of how a shoe is coming to life. Because though people are familiar with custom sneakers, not necessarily everyone is familiar with how they're made. And I think that there's a a level of interest and desire to see how something so personal can be made over by a person.
>> Okay. So, I'm going to flip this over to Colin for a second here. Colin, does that all line up with you from a creative standpoint? Are we are those abnormally high because they're hitting the right trends in Zeitgeist? Is there anything else about them? time of day, subject matter, something unique or different about the shoes, anything like that?
>> Not necessarily. I think the style is the same, but it also depend on who maybe like a collab post of some sort.
>> Mhm.
>> Um, but no, I'm pretty I try to be consistent as possible as the time of day that I post. Um,
>> yeah.
>> And then
>> Okay.
>> Try to trying to tie it to a big game or something.
>> Okay. So, if if I'm going to put that out there, we're just going to park it as assuming that this is true because I don't know, but I'm going to take your your comments on this to be true like gospel that it's it's just hitting the right trends. So, what could we do in order for it to hit the trends more consistently? Your best guess?
>> Keep a calendar of major moments and post around those major moments.
>> Mhm. And are these always like sporting events?
>> I think that they're cultural moments. Um, but sporting I would from our point of view it it's sports.
>> Yeah. It's almost all sports, right? Because I was looking through it.
>> Yeah.
>> Okay. So, instead of just looking for cultural moments, we'll we're going to narrow it in because we're here for we're here for the sports fans, right?
>> Yeah.
>> These are all the major sports, right? Basketball football soccer those kinds of things. Baseball.
>> Correct.
>> Okay, cool. Okay, so the solution is just have a calendar. Just be more aware what's going on. And we have to be ahead of it because let's factor into it creative production time. From moment of idea, how long does it take from I got an idea to it's out on Instagram? What's the lead time? It's a call-in question. I mean, I guess physical production time is between 8 and 10 hours, but I could have an idea for for months and just trying to like think of like the right time when to actually move it forward.
>> I'm talking about when let's say the two Chrises, right, Asian Chris and black Chris says, "We're ready. This is what you got to hit right now from that moment to like a real being done."
>> Mhm.
>> How long is that? That's what I want to know. less than 12 hours.
>> Okay. So, you can shoot and edit it in less than 12 hours. Okay. That's very good. So, this is great news for us, Chris, because within 12 hours or so, we can have idea 2 on Instagram hidden. So, that means the planning part doesn't have to be that long except for I'm going to assume Connor or Colin needs materials. He's got to have the right materials beforehand, which good news, relatively cheap to attain unless it's like um a signature jersey or something, right? Do you ever use that like the winning jersey where the thing itself costs a lot of money?
>> Yeah, there was uh Yeah, I've used like game worn things and game footballs and stuff like that too. Yeah.
>> Does the client supply you with those?
>> Mhm. Yeah.
>> Okay. So, I'm going to take it that most Okay. you know, leading the witness once again. How would you break down the Instagram reels on your your your channel? Is it uh what percentage is commission versus selfinitiated?
>> I would say 75 commission 25.
>> Okay, this is good to know. Okay, so basically three out of four posts you have no control over. Basically, you're you're doing client work. You got to hit a deadline. It's done. You'll film it. You get some uh views from it, engagement, and that'll be that. So, would be safe to say, let's take that off the table and focus mostly on the 25, the ones that you can control. Okay. Would there be anything that's going to prevent you from being able to produce this within 12 hours that you need Chris's help with? What are the constraints to you being able to do this?
>> I guess just other things going on around
>> like
>> um calls, personal personal things.
>> Okay.
>> So, we're going to list some constraints here. Constraints constraints. And then so calls, some personal stuff like you have a family, you have kids. Anything that's going to take you away from doing this?
>> No, not not that not that serious.
>> Still a single man ready to do what needs to be done?
>> Yep.
>> Um Okay.
>> Well, I would say travel.
>> Yeah, travel, too.
>> Travel. What's involved with travel? Like what is that?
>> Well, I mean, if you're going to need to make a shoe, it's going to be hard to make a shoe when you're away from your studio,
>> right? He has to be in the shop, right?
>> Correct.
>> Okay. Anything else? So, literally, he couldn't do it if he's on vacation unless he brought his equipment with him.
>> Yeah. Or found the sewing studio,
>> right? Which is possible, right?
>> True.
>> Yeah. Okay. Okay. All right. Well, we know this and so we know big important things are happening. we probably should not plan travel on those days and we we can work around that. Okay, great. So, let's take a look at the clip that you shared with me and I'm going to share the screen. Sorry, I'm dealing with a lot of tech. Hopefully, Drigo, if you're monitoring the comments on YouTube, let me know if there's anything important I need to be aware of. Okay, Drigo. Okay. Um, that's Drigo saying yes, Chef. Let's see here. I want to look at Safari. Oh, look at this. Okay, so we're seeing this. Okay, so I don't know when this
>> fan favorite Joe Burrow.
>> Can I blow this up?
>> After leading the league in touchdowns and yards last season, definitely excited to see if the Bengals can get back to the Super Bowl this year. Before I show you the final custom, here's a couple things you need to know about Joey B. He hyen winner, a national champ at LSU, number one overall pick in the 2020 draft, took the Bengals to the Super Bowl his rookie year, and of course, you know the nickname, Joe Cool or Joey Burr, ice in his veins, and style off the field that's just as bold as his game. rate these one to 10 and tag your favorite NFL team down below and they just might be next.
>> Okay,
>> we're g a content strike right there with that track from the white stripes there. I gave you a like and I'm going to give you a comment. Hey, great job if I can spell. Great job, guys. See, I'm helping with the algorithm right now.
>> Appreciate it.
>> Every comment helps. So, let's go to the main account, which is Chumse_chum. Everybody want checks them out. They have 67.3,000 followers. And if I look at these posts here, I'm going to click on this. I'm just going to look at how your reels perform. And this is what I'm talking about here. So, we have three pinned, which is what I believe everybody can do. Um, they're all above 300,000. Two of them are above a million. And so, there's a thumbnail, which is the jersey, I believe, framed. It must be some kind of Photoshop template cuz they all look consistently the same. And then they've been pinned and it's a 1.6, 300, and 1 mil. When we look at these other ones, they're all over the place. So, some are two, some 132,000, 190. So, we have a couple outliers here. And I'm already suspecting something here. It's interesting. You notice something here, guys? I'm not saying I'm like Mr. pattern making, pattern recognition machine robot here, but it does seem like when you show the jersey, it gets a little bit better performance. Not always, cuz some of them where you're showing cutting. So, look at this. The the top threeish performing posts have the thumb of the jersey. I don't know if that makes a difference. I'm just looking for anything that's a pattern. This one has 132,000. So, then you can say, "Well, Chris, this one has 2,000 and this one has 132 and they both have the jersey." I don't know who Barkley 26 is, but is that person less or more famous than Smith number four? Because I'm I'm not an athlete clearly. Y'all tell me here. Chris Colin. Well, so the Smith one, that's a Ohio State football player. So, I posted that Saturday morning before the the OSU Texas game, which is a pretty big game.
>> Yes.
>> And then that Barkley one I just posted like a couple hours ago for NFL.
>> Okay. So still fresh.
>> Yeah. Yeah. Mhm.
>> Is there a game?
>> Uh tomorrow is the first NFL season game.
>> Okay. So it's a little ahead of the game there.
>> Well, so yes, but that'll be part one. I have another part two for for tomorrow.
>> I see. Okay. Are there any other things that you can predict as to why these outperform aside from the the kind of cultural moment that we're experiencing?
>> Name recognition is huge. Um, you saw Momes like there's I think there's a difference and that's kind of why I used the word culture earlier was because I think it goes beyond the sports fan. It goes into pop culture and people like Patrick Mahomes, Travis Kelce are known across the board even if you're not a true sports fan. Right.
>> So, I think that it's that popularity of the athlete or the team um or in addition to the game in the moment.
>> Yeah. But I'm going to say this though, they're still athletes. It still runs sports culture. Just some athletes transcend pure sports fans and those are the superstars. Everybody knows Charles Barkley is, uh Michael Jordan, Kobe Bryant, and you don't even have to watch basketball to know. So, uh, this is Is this Kelsey?
>> No.
>> Um, no. I think that's just a a team,
>> but he's a Kansas City guy, right?
>> Right.
>> Yes.
>> Yeah. So, because he's dating Taylor Swift, he's gotten a lot of lift from that. So, that's a a crossover event between two worlds. Pop culture in terms of music and then pop culture in terms of sports. So, you're getting a double hit there. And currently, things with Taylor Swift tend to trend much much higher. So, whenever those moments exist right?
>> Um, okay. I know Otani is a big deal, especially because you're dealing with baseball fans that are American and Japanese and casual fans who don't know anything about it seem to know him and he seems to be like a once in a-lifetime kind of athlete right now.
>> Okay. And I I've seen lines for him being shared on social where, you know, they're getting some kind of bobblehead or something stupid, but people are nuts over him. Right. Okay. All right. So, I I think I have a sense of what you all are doing here. Let me stop to share here. Okay, everybody, if you want to check it out, it's underscorechummies. Drigo, do me a favor and drop that in the YouTube chat. We'll add that in the link in the show description notes. Okay. All right. Um, if if you had to guess, what would you guess that you need to do to increase your engagement? some the word consistency comes up um maybe in the in the style of the content. Um that's one thing.
>> Yeah, I would agree with that.
>> What do you mean to be more consistent or less consistent? When you say consistency, you can go both ways. Uh yeah, I guess be more consistent with um a strategy around who we're making shoes for and posting about and when we're posting about them. So like if Patrick Mahomes is going to be playing this weekend, then it makes sense to resurface that in the stories if we've already created the shoe. Otherwise, if it's a new athlete, maybe we need to and we're creating a new jersey around a new new shoe around that athlete. That that seems like what I would guess.
>> Okay. Um All right. Since we have other people we need to talk to, I'm going to give you my opinion. Everybody needs to understand I'm I'm not a student of their account, so I don't know. I've just looked at it for the time in which we've talked about this. And I did some homework last night just so I'm a little bit familiar with what you do. Here's my guess. Social media content that engages me on an emotional level tends to perform better. So, when you show a team that I'm super excited about and there's a rivalry or an upset, of course, more people are going to be looking for this. But you can't control any of that. Now, I noticed something, Colin. When you do this, you're pretty consistent in the narration, the lighting, the editing. It's all pretty straightforward. And because it's almost always a Nike shoe as far as I can tell. There's after a while it becomes, and I'm sorry to say this if this hurts you a little bit, it becomes a little predictable,
>> right?
>> So I watched two or three of these things. I feel like I've watched them all now at this point. I'm just waiting for my team to win or to be in the playoffs. So I think you have to be able to do this in a way where the structure is consistent, but the outcome is not exactly predictable. And I I don't know what that means just yet. So I just want you to sit here and listen and process. It could be switching up the brand of the shoe or even the model just so I'm like sometimes it's different cuz there's only so many ways you can sew in jerseys and uh airbrush different designs on this, right? Sometimes maybe you have to dip it in something or just do something a little crazy. And I think this is where I want you to challenge yourself. Like if you do something a 100 times, you start to ask yourself like what's one variable I could change? And then you do that like I've never done this before and sometimes they're just a disaster and they don't work. But you can tell people what you learned in making this shoe. I'm going to try something different guys. I've been fascinated by this this paint or whatever. I'm going to do this thing. Like I know that there's this black paint that you can use. That's the blackest paint ever.
>> Yeah.
>> And it just looks like a 2D thing, right? Looks like a silhouette. I don't know what you would use that for, but I would experiment with construction, embellishments, different kinds of things in the 25% of the time that you make stuff.
>> Clearly, you don't want to f around when it comes to clients cuz they're like, "This is ugly, bro. What are you doing? I thought you guys were good." kind of thing, right? Or maybe even take instead of jerseys, you take uh basketballs themselves and take them apart and use that for part like the toe kick or the tongue or something. or you dip the laces, something you just to change it up because I I'm like I'm intrigued like what's he gonna do now? You know, I love the last piece, but as I've watched three or five pieces of content, I I I don't want to feel like I got his gig. I got it right. So, good structure, but a surprising outcome, a technique, one variable that you throw in there, something like that. Okay, that's one thing that you can do. The number two thing that you can do is you can go super over the top kind of like almost a Japanese anime where it's like like big shoe shot and just like dramatic movements, wide angle lenses, very cinematic. I've seen the food prep game go to that level. Used to be like one camera pretty flat people chopping ingredients and then it gets more and more cinematic and then now they're like breaking the sandwich and the cheese is dripping across. Then you have guys that are shirtless that are ripped and just doing it like ninja style. I'm like, so what they're doing is they're like, you've seen this, but you ain't seen the way I've done it. So you guys are the originator of this and eventually the competition catches up and you I'm like, what what else am I going to do, right? And it could be something weird. I don't know. And and you need to introduce an element like that. Chris, you want to say something?
>> I do. Do you So, it sounds like the feedback is is consistent around focusing on the shoe um and the making of the shoe as the source of the entertainment. Would is there any other suggestions outside of this of just like making the shoe that we should consider?
>> Yes, there's lots. I was just getting warmed up here. Okay,
>> so if you look at the brand of the shoe, the make of the shoe, different materials, there's only so many variables that you can swap out. Okay, so when we just look at jerseys, I'm like, okay, I kind of know, but what if we took a piece of vinyl from an event that they were doing or a tablecloth cover that they did, something else other than this, the basketball, the tennis, tennis ball, something. So we can change the materials, we can change the silhouette, we can change paint, we can change the assets and components in which we're working with. So that they're like these are not just shoes. They're one-of-a-kind works of art that blow your mind. And I don't know what that means just yet, but that's just the production of it. Then there's how you shoot it, the color grading, and how over top you get. But the part that I think where I was leading with this conversation with you all is where's the motion? What's the part you can control? Now, I've seen a young man, he does custom shoes. He draws all over them. He does some pretty crazy designs. But what he does is he asks whoever to film their reaction to that shoe. Because here's the thing, I don't know if you know this, but there's something called the mirror neurons in our brains. So, if I smile and I'm laughing and I'm experiencing joy, you may not express any of that, but inside you're mirroring what's happening that you're seeing. This is why when we watch movies, when the character gets choked up and they start crying, we start to cry. We can't even control it because we're mirroring. And this is a necessary thing that we've evolved into so that we can feel connected to each other. Imagine if you're experiencing the greatest grief in your life. I'm walking. What's up everybody? Let's part. And you're like, whoa, bro. Not getting the vibe or you didn't read the room. So, I think if you can introduce an element of emotional reaction. So, for example, you can go to some young kid, you know, maybe not an affluent person, say, "What's your favorite team? Who do you love the most?" I have an idea for you. You can meet me back here tomorrow. I'm going to make you something. And you're like, "Okay, this kid, he wanted this and that, and I want to add this." And you give it to him. He's like, "Oh my god, you guys are the most." That's the emotional reaction. Okay. There's also this part about like, "Oh, you can talk about your process, which is, huh, what am I gonna do? So, we got this thing from this team and you're kind of like wrapping the table and you're like, I got it. I'm going to try this. And we see you going to get materials. So, you're delaying the reveal much, much longer. Stories need tension. So, when you do something that's the same all the time, there's no more tension. We always know how it's going to begin. We always know how it's going to end. So, that's where sometimes consistency actually doesn't help you. We always know there's a shoe and there's a finished product. But all the ways we get there in between, that's where it gets real interesting. Okay, clearly you know how to make these things. I enjoyed watching the process. There's craftsmanship involved. And I'm like, "Oh, I didn't know you could do that." And then you just do it. Cool. It could also be that you design a custom box, right? So that you're designing all of it, not just the thing. So people then save the box and they Instagram the box and they backlink you. And I what I would do as much as possible and encourage whoever your clients are to continue to promote and share it on their accounts. It's important. The more people that sharing linking back to you, the the bigger the number of subscribers or followers you have, the more chances more eyeballs will hit it. So those that's my initial take on this. And I wish I could do a deeper dive, but I want to pause here and just ask you if you have any specific questions which I I can then address.
>> Chris, you can go first.
>> Yeah. So I know all those are great things and and the thing is I think we've done a lot of those and when I think back to especially like the Coke video that's why it went 15 million views is because it was it was different. It was like let me go on a hunt at the FIFA game and so it's like the storyline of what what what is Colin doing and then the surprising moments with Jamar Chase and how we had the kid reaction. So, I mean, everything that you're saying is like it's all
>> Huh. Yeah, it's worked already, but I don't think that we knew why or paid attention to why why it works.
>> Classic,
>> right? Yeah.
>> So now it's kind of like with what you're saying is like how do we bring together all the things that have worked and those in and hearing your feedback and putting all those things in together to make a more consistent strategy of saying like okay well we can use this element this element this element and and the thing is when it comes to gifting like I I like that what you're talking about you know we're able to offer a gift um to people because there there's the unboxing and then the surprise and the emotion. element of it.
>> Yeah. There are people that um some I know in real life and some I just watch online where all they do is trying to help people. You know who Uncle John is? He must be in the South. Strong black man. He's like, "Eh, my neighbor. He needed a fence and I don't want to charge him anything. So, you know, I have free time. What am I going to do on a Sunday?" Oh, nothing. It's just four hours and he built a fence. 2 million views. So I am I think I may be pointing out to a new trend or a term called the giving economy. People talk a lot about the attention economy. Those that can control and capture and divert attention will be the millionaires and billionaires. But I think we're shifting towards the giving economy. That people will make more money by doing good in the world than they actually could sell services. People who mow lawns for people like elderly, you know, uh people who repair people's homes because they just want to. So instead of charging somebody $2,000 to fix their fence or their front door, they will make more money in brand deals and their followers than they do from actually charging for it. Do not underestimate this. So finding a person that's worthy of getting shoes, you know, like you hang out around the right places, you're going to see like a parent saying you can't have those, you know, or you're at a game and you see this kid and it's really well behaved and said, "Hey, what's your favorite team? You know, who you rooting for?" And you have a whole dialogue and you shoot that and it's like, "I have an idea. I'm gonna gift you a pair of shoes. What size shoe are you? You know, tell me a little bit more about you and then you go away and make that thing. I have one other idea that's a little crazy, but I'm going to share it with you, okay? And we'll wrap up here. So, the the observation I have is uh this is the classic symptom of all creative people. This worked really well. Let's do something different.
>> You know what I mean? Like, I get 15 million views for Coca-Cola. I'd be like, um, yeah. So, how do we change one variable about this and do the exact same thing again? Creative people feel stifled and choked when they do the same thing over and over again. So we have to put that person that personality in the timeout box and say, you know, you be quiet right now. This worked. We need to do this again and again and again. Prove to me that we've milked this cow to death and there's no more milk. It's it's dry, right? And we want to do that. Here's the crazy idea. Okay, so you have um what's his name? Travis Kelsey. Is that his name? The Kansas City guy. I don't know anybody.
>> Yeah. Yeah.
>> Kelsey and you have Taylor Swift. Two worlds combined together blow both worlds.
>> So Swifties are now becoming football fans and the football fans may or may not be listening to Taylor Swift. I do not know but it's a power of merger of two things. So right now the blanks basically your canvas are the Nikes, right? So you have that and then you have the jersey. So those are two things are coming together. That's why I think you have this initial pop. What would be really interesting to me is especially if you made this for someone who might wear them and not just put it on a shelf. He's like, you know, my favorite fashion brand is this, my favorite team is that or this this athlete and you brought those two things together because I could see one where you use a jersey and you use a vintage Louis Vuitton bag. So buy those big garment bags because you have a lot of material work with and just introduce some elements. You bring those two worlds together or bring like sports cars and and athlete together or just bring two things, mash them up and like wow the josition. No one ever thought of that and it would be really really cool.
>> You world. Okay,
>> welcome to the team Chris.
>> Yeah, I expect a check sometime pretty soon here. So let's try this. Okay, let's do small experiments and when you hit something, don't run away from it. say, "Yeah, what do we do? What is it about this?" And let's test the hypothesis and see if we can do it again and again and again. I would love to see you working with artists, too. When I say artist, I mean like street artists, cuz street art and and uh street wear go together. So, if you had a graph artist come in and do a piece on a giant canvas or piece of vinyl and you were able to cut that up, we're doing limited editions of these of five or 50. We're going to give two to the artists and rest to the inner city kids. We're going to take it to this thing, you know, or or a foster home. You know, kids don't get no love. We're going to give them all the love. And you come in there. I'm already crying just thinking about it, you guys. Come on.
>> No.
>> Can you do this?
>> We we we we will do that
>> for sure. We will do do that.
>> All right. Thank you so much.
>> Hold on one second. Uh coming in hot. What's up? People are asking in the comments, "Why not do this for celebrities versus random people?"
>> Okay. Um, so here's what they're they're saying in the comments on YouTube. Why not do this for celebrities versus common people? You can do this for celebrities if you have access. Access is a difficult thing. But, you know, do celebrities need more free junk? Probably not. I'm not going to cry because, you know, whoever athlete got gets another shoe? Probably not. But you tap into their superstardom and that makes a lot of sense. I'm trying to give you advice that you don't need special permission to to do and you don't need special access. You can do this today because yeah, um if LeBron James said, "Yo, hook me up, bro." Take that offer right away. Do not hesitate. Do not pause. Say yes. When how high, you know? But most of us, what we do is we create conditions in which we can't take action. Like, oh, if only this person said yes. Or you know what happens a lot of times and I hate to say this and I hope I don't become this is that sometimes people become really entitled and jaded. You pour your heart and soul into something. You make them a piece of art. They're like cool. They don't share it. They don't mention it. They're like actually don't tag me in anything cuz I don't like that cuz they just don't genuinely feel it. To me, the emotional strings that you're able to pull with people who are deserving need of this, who are like really big fans, especially like Make a Wish Kids, you know, you're like, "Dude, we made you something."
>> You know, and I'm not saying to do it for this reason, but a lot of times those Makea-Wish kids, then have the shoe and then they talk to LeBron and they're like, "Look at this. You're my favorite athlete. These guys over at Chummies made me this free promotion.
>> Do it because it's right. Don't do it because of that. and everything else should fit fall into place, guys.
>> No, we're very inspired by this moment. It's definitely be on the lookout for some really good stuff this this November for sure.
>> Looking forward to seeing what you guys create
>> coming up. All right.
>> Yeah. Yeah. Yeah. And hey, I like Nikes. I would just try different silhouettes from them.
>> Yeah. Yeah.
>> Yeah. All right.
>> Even that will just change the game for you. Gives you different panels to work with. gives you a different silhouette, a different shape, and I think I would go for that.
>> Okay.
>> Right.
>> Yeah.
>> All right. Thanks very much, guys. Uh, you don't have to hang out. You can. I won't mind if you do, but feel free to bounce if you want, but it's good talking to you. Okay.
>> So, Andreas,
>> thank you.
>> Thank you. Who's our next victim? I mean volunteer. I believe it's Stacy. Hello, Stacy. Hey. Hey, Chris.
>> Hi. I've seen your content.
>> Well, thanks for submitting and and being here.
>> Why? Why are you grimacing like that?
>> I was bracing.
>> What are you for?
>> Talk to me, Stacy.
>> Uh, so I submitted a piece that
>> So, we help construction companies. We help them stand out. Uh, most of them are in a sea of contractors.
>> Stacy, can I say something?
>> Sure.
>> Let me just say something.
>> Tell me your emotional state right now.
>> I'm excited to be here.
>> You are.
>> Yes.
>> You look a little tight.
>> Tell my face.
>> No, you look really tight to me. I was going to say, relax. Relax, girl. Are you okay?
>> Yeah. Have a conversation with you. My mic comes in much louder to my earphones.
>> I see. That's why.
>> So, I'm trying not to scream in my ears.
>> Okay. You're your audio is perfect. I hear you loud and clear. I just want you to relax because we'll have a better conversation to be 100% ground in this moment. And we'll we'll I cuz I'm like I'm not going to tear you apart. I didn't tear those two boys apart, did I?
>> It's worth it if you if you tear I'm good. It's worth it. It's all for the uh
>> you answer my question. Did Did Was I harsh and mean to critical and cruel?
>> No.
>> No. Okay. So, I wouldn't be this. I wouldn't do that to you, would I?
>> Don't brace. You don't need to brace for anything. Okay. I mean, this is not a root canal. It'll be okay.
>> And by the way, I had a root canal recently. It's not bad. The the way they do these things these days is I'm not saying it's pleasant, but it's not bad. Okay. So, I'm
>> not going to put that in your branding.
>> Yeah. Relax your face. Relax your body. Take a couple deep breaths. We'll be there. I'm gonna ask you some questions and then I would love for you to just answer them because before we get into the work, I want to know the person. Okay. Okay. I've seen your content. I've seen it on LinkedIn and then I clicked on that. So, I'm like, "Oh, I've seen Stacey's work before." So, I'm familiar with it and I've seen some of it. So, I I kind of have an opinion about it. So, now what is your profession? What is it that you do?
>> So, my background is in engineering. I'm a strategist.
>> Okay. and I support the business.
>> What kind of strategist are you?
>> Business strategist.
>> You're a business strategist. Okay. And your background is in Did you say engineering?
>> Yeah, engineering and construction.
>> Oh, like um structural engineering.
>> Yep. In structural, electrical, mechanical. My background was in the merchant marine as an engineer board ship.
>> Okay.
>> And then on land and construction.
>> Okay. So that means you're good with the maths
>> and physics things like that, right?
>> Well, common to you, uncommon to other people.
>> And I I I know of the profession. Basically, uh people like Stacy make sure when architects come up with some cool stuff, the whole house or building doesn't fall down because they didn't factor in the wind conditions or something like that or the actual physical weight of the building collapsing on top of itself. So um people like Stacey make it safe for us to drive on bridges to live in our homes and not fear those kinds of things. Okay. But then you go into like business strategy. Kind of a leap there. A little bit different part of your brain. Yes.
>> Yes. It's intuitive. It was an intuitive uh transition to me because of working in the field for over 27 years. And that's the field of the people that I support. So I've worked on the side of the largest construction companies and then been on the opposite side.
>> Oh, I see.
>> As the contractor.
>> Gotcha. Okay.
>> So now I support them in their growth having come full circle.
>> Oh, okay. So same vertical just different sides.
>> Yep.
>> Okay. So everybody understands she works in the construction industry of course, right? So, people need uh structural engineering, stuff like that, electrical engineering. She figures it out and she goes, "Hey, maybe you need help with the business side because I could do this, but fewer people can do the business strategy." So, how long ago did you make that flip? When did you join the dark side?
>> About 5 years ago.
>> Okay. So, and how long before were you working as an engineer?
>> Uh about 25 years.
>> Okay. So, relatively recent. Okay. And how's it been going for you as a as a strategist?
>> It's a it's a shift to the brain that I love because the reward is very different than
>> the the physical uh structure. Um one of the projects that I spent my last corporate stretch in was the rebuild of the World Trade Center
>> and that has a significant reward um to it. But then being able to work with the owners that are so close to what they do that they struggle with how to make themselves stand out and how to communicate with the industry so people can see their genius.
>> Yeah,
>> I saw a huge void there and so that's been u
>> pretty rewarding to be able
>> to help them do what they need to do.
>> Are you an East Coast person?
>> I am.
>> New Yorker.
>> New Yorker. Okay. Okay. All right. All right. So, what is your uh goal for creating content
>> to connect with the owners of the construction companies that think they have to continue to operate in the industry the way they always have. For instance, many of them rely on bidding and they don't have risk mitigation strategies to keep their cash flow stabilized. So they wind up having to let people go or worse take on predatory uh lending um in between bids because there are delays in payments andor project continuence. So, one of the areas that we specialize in is developing MR for companies that less commonly ever think about that.
>> Okay. Mm. MR is monthly recurring revenue.
>> Yes.
>> Okay. You have to keep in mind most of us are not in this industry. Don't know what you do. And uh if you're going to air on the side of dumbing the words down than to then using terms that people don't understand, right? If if people don't understand what you say, then they can't follow you. they won't remember what you say and all those kind of things. So, it's a danger for smart people. Uh people that are highly educated tend to speak above people's heads, not at where they need to be. Okay. So, your goal is to connect with owners
>> and yes,
>> all the reasons are less important to me right now for the kind of conversation we're going to have. How will we measure your ability to connect with owners based on your content? the owner's getting in the conversation even though
>> a DM
>> uh the Yeah, I think my my ideal client prospect is more likely to message me than to get into the conversation. Although some do start in the conversation, I would say fewer more a little bit more discreet uh because of their their profession and their visibility. Okay. And you're doing this mostly on LinkedIn, right?
>> I am. I do have um more of a following on another platform that um I just don't spend the time on, but LinkedIn is where I
>> Yeah.
>> Say again.
>> It doesn't matter.
>> We don't need to bring up things you don't spend time on or care about.
>> Okay.
>> It's not a judgment game. I don't really care if you have four followers or four billion. It doesn't matter. I'm here to help either way.
>> So, LinkedIn is where I spend the most of my time. Um, but I would really love to grow my YouTube channel uh to have this more engagement.
>> Well, we're here to help you on one platform, one piece of content. So, you're gonna have to peg. I think you're I have it. That's how I know. Okay.
>> I'm not clairvoying to everybody. It's literally looking at me right now. So, LinkedIn
>> and the goal is to get someone to either look at your profile or to send you a DM. Is that fair?
>> Yes.
>> Okay. So content needs to lead to uh profile, which is great. I know something about that. Or to get them to DM you. Now, is it safe to assume owners aren't spending a lot of time on LinkedIn or are they? Is it somebody that reports to them that spends a lot of time on LinkedIn?
>> So, I think they are, but most of them are on the lurking side versus the actual engaging side.
>> Do you have any evidence of this? the difference between the amount of impressions and the amount of engagement.
>> Yeah. Okay. Let's do this. Do you have LinkedIn Premium?
>> I do.
>> So, you can see who's looking at your profile?
>> Yes.
>> And are most of them owners?
>> Yeah. So, the top category is
>> owners
>> is all senior owners.
>> Suite.
>> Okay. Great. I just wanted to verify that before we move on. Okay. A side note to my friends who are watching this on the creative side. Whenever the prospect says something, I never assume them to tell the truth. Not that they are actively trying to lie to me, but people have impressions of things. So whenever possible, we ask for evidence to back it up, right? So that's what I'm doing here. Because if we work with a false premise, being LinkedIn owners, then we're going to make a flawed assumption. A lot of times, especially with really, really, really big companies, which I'm assuming that's who you work with, they have a gazillion people underneath them that vet and find things like you need to talk to Stacy. She's amazing. Check out her post on this or they forward it to it. So, maybe we have two goals. Goal number one is for the owners to check out your profile or DM you. Goal number two is to have the people that report directly to the owners to forward your content to them. Is that okay?
>> Yeah, absolutely.
>> Okay. All right. So, I want to put that down there. Number one. Number two is forward. So, I'm going to draw a little airplane here. Uh content so that you want people to share.
>> Yeah. You just hit on a note that um I just recently repositioned our SAS platform because it was all positioned for the owner, but the owner comes to us for the coaching and to have that experience where someone can callull out the growth revenue streams that they haven't thought of, bring their zone of genius out, work with their time and their delegation, but the SAS platform, the owner is not going to drive, their delegates are going to drive it. So it's almost like two different ICPs for two different parts of the company.
>> Yeah. So I'm an owner of a company, small company. I don't want more work to do. So every time I see something, I send it to the team. Follow up on this. Check them out. Do you need help? Is this who we pay? And then you guys do the work cuz I have no no interest in doing deal doing dealing with this kind of stuff. So it always has to go through all this process and very small relative to probably the people you're talking to. So let's do this. Let's go look at the piece of content. Let me go share my screen here. Um, two seconds and I believe it always does this. Come on. There it is. Share that. Okay. So, this was a previous one. I'm here. This is you. Uh, everybody, if you want to check out Stacy, it's with the IE. What is CM?
>> Um, certified energy manager.
>> Oh, that's an abbreviation I've not heard before. Okay. So, there's a caption which is all that and then there's a video down here. So, what we'll do is we'll turn on the volume and we'll watch this together. Okay.
>> Growth and scale.
>> Let's back this up.
>> Beware of growth traps. A lot of people want to go right to growth and scale. And what's really hard to hear sometimes as a CEO is you're not ready to grow and scale. You really need a foundation. But if you're willing to hear it and you work on your foundation first, then you are that much closer to the growth in the scale. You can't grow something that doesn't have a foundation and you can't scale something that hasn't yet grown. So often when we hear people are bringing somebody in to support their growth or their strategy, we're first looking at do they have the foundational systems in place yet that somebody can actually take and run with. Far too often people are skipping a step and asking the wrong question. The question for them is not about scale or growth. It's do I have the systems in place that can be grown and then scaled? And that's the foundation 10 items here that I'm going to list off for you. So if you write these 10 down, score yourself one point for every system you have in some shape repeatable. Now, if you score less than a five, get yourself to a five before you bring somebody in for growth or scale. The systems are time. So, that's where we block and delegate our time as the CEO. Outreach. Outreach is about developing a flywheel that somebody else can come in and help you keep spinning. Payments, how they go in, how they come out. Four, fulfillment. How you perform your work in a repeatable manner. And what sort of digital assets are associated with keeping that a uniform client experience? Purchasing terms, supply chain, are we optimizing each of those things and growing the relationships that are associated with them so that it matches the value that you bring as a client?
>> Okay, I'm going to pause there. That's a really long video now. Okay, we're what 2 minutes and 27 seconds in. Or is there 2 and 27 minutes left? This is a Is it a 3minut video? It's Yeah, I think it's uh just about four
>> four minutes.
>> Might be three and change.
>> All right, I want I want to just live with this for a little bit here. So, let me make this a little bit. Can you guys Did it go big screen, everybody?
>> It did. Yeah.
>> Okay, cool. Now, we see you much bigger. So, I believe you're in the same environment that you're in now, right?
>> I am.
>> Yeah. Okay. Let's Let's just do a little scene by scene breakdown here. We know that reals and shorts, the first three seconds really really matter. So we should spend um what Eric at me calls like the F15 like the first 15 minutes of a talk the first 15 seconds in the case the first three 90% of energy has to be here otherwise we're not going to get me to watch this video. Okay so there's a couple different things in order for us to achieve the goal of the CEO looking at this and responding to you. They have to see this video. They have to watch it. And that's also true about the their direct reports. They also have to see they have to watch this thing. Now I think you open up with something about beware of growth traps. Okay. And then your second line is something about before you grow or scale or something or people. What was the second line? Do you remember it? If you don't, I can watch it again. Okay, I'm watching it again.
>> Beware of growth traps. A lot of people want to go right to growth and scale. And what's really
>> Okay, so those are my first three seconds. A lot of people want to go to growth and scale. So, generally speaking, I think if you work on your hook and your intro a little bit more, your probability of higher views and engagement, it's going to go up. Okay. Um, and you talk about these are the 10 things something. What are the 10 things? Can you tell me?
>> Do you want me to list them out?
>> No, just tell me like what's the category? 10 things. What? Here are 10 things that if you don't have at least five of these in some shape repeatable, don't go hire somebody to help you grow and scale or don't go hire somebody to help you scale. You don't have the foundation yet.
>> Okay. So, if you and I were in a copywriting class for marketing, we would sit here and write 100 hooks. I'm going to do something with you right now and let's see how they work. Okay? because I think um I get a sense here that um the engineering brain is speaking not the entertainer educator speaking right now. So it's a little too technical. It's a little bit dry. Um and at some point I'm like fading from this, okay? Cuz it's almost like you're explaining too much to me. So I would say something like do these five things before you think about scaling your business. Now I'm like what five things? So beware of growth traps. Pretty abstract as an idea. Like what growth traps? Like what do you mean? Okay. Or or from scaling from seven to eight figures. Uh if you commit these five things, you could be sabotaging your business. All of a sudden, you have my attention now. And I think if possible, whenever possible, I used to make this mistake. I tried to pack more information into video and wonder why people weren't watching it. Because I wasn't scrolling on the feed today to have my brain fried. I just want to be entertained a little bit. I want to be intrigued and then get me excited about you so that I want to know the rest. So what I would have done was to break this piece of content down to two parts. Part one, tell me the five things. Right? And then at the end of the video said, there are five more things I want to share with you. Why don't you comment this word and I'll send you the PDF of the next five or I'll send you the video of the next five. This way, you're asking for some engagement and you're just creating a curiosity gap. We We often think we need to serve them the full meal when no one's looking for the full meal. They're looking for a light snack. Right now, they're looking for nachos and chips. I'm sorry, chips and uh salsa or something else. They're not looking for like a steak dinner. And I think you're delivering them a steak dinner with a side of asparagus and probably some um charred Brussels sprouts. It's just it's too much for me. Okay. And you know what? I like that you're smiling right now. Your energy is so different right now. I want to see that energy in the videos. Okay. I think Let me Let me ask you something. When you record content, what is your emotional state when you record it?
>> I think that's your energy right now. Um, it's interesting you say that because what I did to what came out today was much more punchier and high energy. And when I watch things back, often I notice a difference between being live in a session with me and speaking directly to a CEO versus what's captured on video a lot of times lacks that same kind of energy.
>> Yeah. You produce content by yourself.
>> So I have two ways of doing it. that one that you had up I produced by myself.
>> I also work with uh Danny Delveio's team video on easy mode.
>> We're going to strike all that from this session. I'm just kidding. You will.
>> Okay. Uh so they we meet for an hour and then they just cut it up. And the reason for that was just to make me not the friction point anymore.
>> Yeah.
>> And remove the bottleneck. So, I I augment with my own, but I know I always have at least 10 to 13 pieces that I can pump out so I can stay consistent.
>> Stacey, do you know why I'm laughing? Cuz you take what is possibly a short answer. You always make a short answer much longer than it needs to be. Do you know you're guilty of this?
>> I do.
>> Do you have kids?
>> I don't.
>> Okay. Does Does anybody tell you like, you know, I just wanted to know if you're thirsty? You're like, "Well, today I, you know, just tell me yes or no and I'll get you a cold drink." You know?
>> Yeah. So,
>> I'm going to put the engineer stamp all over that.
>> You got to put that away for what we're doing here. Okay. Cuz as I watch your content, I don't know how it is that I came across your content before before you submitting this. I've seen your content before on my link
>> pro group, too.
>> Oh, that's why. Well, sorry. That's why I know you. Okay. So, here's what I want you to do. I need you just relax. I need you to smile. I want you to have fun. Okay? And that energy is going to transmit through the lens. If you're having fun, I'm having fun. And I got to tell you, the reason why I asked you, are you making the content mostly yourself? And I think the answer is yes. Mostly by myself, is it sucks to record content? It sucks to stare into a piece of glass and say whatever, right? It does. I'm just telling you right now. It's like I can have 35 videos I need to make. I don't wait 23 hours before the 24th hour and I'll start making a content because I hate doing it. But when Drigo comes by or Rich or Mo's like, "Hey Chris, we're gonna record content." I'm like, "Okay, guys. I I'll see you. Let's go make some content." It's a freaking lonely endeavor. Is that how you feel? Are you like me in that way
>> or no?
>> I see the I see how different the energy is because I'm comparing two things in my head right now. One that was with someone sitting across
>> and one on my own. So
>> yeah,
>> it definitely um I feed off of um
>> trying to support somebody else on the other side of the camera. So if it's just me supporting me, it's
>> not the same.
>> Right now, that's who should show up. You know, the person who smiles and me and the the the way that you annunciate the the cadence, the flow, and speaking with your hands and all that stuff. I like that person. I'm not saying I dislike the other person. And now you have your hair down. You had your hair up. It's just all these little things are cues for us like who's showing up right now. Okay. So, I I I remember Wesleyanne Little, my friend who's a therapist who said something about like why public speaking is so scary is because we're taught as audience to be quiet and then when the speaker comes on stage, they're like feeling really disregulated because they're not getting an emotional response, right? But if I'm here and you're talking to me, I'm like, "Oh my god, that slaps. That was amazing. You you nailed that one. Oh my god, way to kill it. Then your your energy will perk up a little bit. So you got to find somebody to make content with for a little bit. Like we'll use it as content training wheels or to pretend like you just had a conversation with somebody like, "Hey friend, come here. I'm going to tell you something." You know, these are the five things you keep doing wrong and I'm here to help. My name is Stacy. This is what I do. Let's get into the content and just explain those things and just be snappier. Okay. So, for you it's an engineering problem. It's just too much details, right? Uh I had a a conversation yesterday with my my buddy Hector and Carlos. Uh Hector is a CPA. He wanted to tell me everything we're going to do before we did it. He's like, "Chris, you're not listening to me anymore, are you?" I'm like, "Do I need to know this, friend? I I respect you. I love you guys. You know, I support you, but I don't need to know every step before we do. Just tell me what I need to do so I can get out of here." Same thing. High level. Tickle the brain, entice them to want more, and just walk away. Okay, that's it. Leave them wanting more. Make them uh you I don't know about you, but sometimes I'm I'm trying to watch my finger here, and I'm like, I'm not hungry. I don't need to eat dinner. And then I'm like, I'm just going to have a little bite, but the after the first bite, I'm like, God, I'm so hungry right now. I'll just take five more bites. And then before you know, the whole bag of whatever it is I was eating is gone. That's what you want it to be. Bite-size snackable content. They're like, "I can't I can't have enough. What's more? Give me more more. I want you to do that."
>> Okay. So,
>> the content that I had been making was 30 to 90 seconds. This one I was I'm trying to transition to have some longer form content.
>> Yeah. But there's an art to it obviously and my uh the engineering side of me definitely did not keep that um punchy enough. So what would you say to transition from the shorter stuff into the longer stuff?
>> Okay, we we have to sit here and unpack this. Okay. I just noticed again your energy has changed twice when you're self-aware and you don't take yourself so seriously. Your big smiles were very positive energy. As soon as you got to the serious question, you became super serious again. Okay? Just keep that in mind, okay? Uh because you know what I learned in in client work is that when prospects are talking to you, they're trying to imagine in their mind what's it like to work with this person the next three, four, five, six months.
>> Absolutely
>> right. And think about this. Is she going to bore me? Is she going to talk my ear off? Or is she going to give me that high level of stuff so I can get my business done?
>> Yeah, great point.
>> Think about that. You want to be snappy? You want to be like, "Boom. We're going to have fun, man. Your time is important. Let's get through this. I'll give you as much as detail as you want." Cuz some people do want that, but until you ask for it, until you beg me for it, I'm not going to give it to you. Okay? All right. The transition. What I would like for you to do is just I want you to really just focus on the short form. Nail it. Get your energy right. Just be the master of creating short hooks and bite-sized snackable content. And when one of those videos pops, you and I will dissect that. We'll figure out how to expand it. Okay. Now, how long have you been making content?
>> So, concerted effort really just um under two years. I've had one go to 1.7 million, one go to maybe three quarters of a million. Well, why don't we look at the 7 million banger?
>> What are we doing with this one? This one has 42 likes.
>> Why won't you show me the 72? You know,
>> 1.7
>> 1.7.
>> Yeah. 1.7,
>> man.
>> Look at that. Okay. Okay. It doesn't matter. We're not here near there. Basically, your media training has been about two yearsish. And if you're like most people, we start slow. We have starts and stops and then we start to get into a groove. So, we're probably making more content today than we were at the beginning. because in the beginning it's really really tough. I just want to let you know it takes a while to find your voice, to find your style and so you're exactly where you need to be. So I think you and me as we're talking right now this may be the beginning of a new branch in your timeline in your sacred timeline. It's going to branch the new Stacy's going to show up a little bit lighter um a little bit more like joyful in your energy, a little less dense. Let's see where that goes. Okay? And then we'll go back and we'll figure out that was really good. Let's make worksheets out of this. Let's turn this into a mini course and let's let's stretch it out. Okay. I'm pretty good at stretching things out. I'm not so good at condensing things out. So, let's start at the beginning. Let's just get this part. Get your cadence. Get you loving results. And I'll tell you something right now. Everybody who's listening to this live or not, I'll tell you something. When the content starts working for you, you will be so happy to work on the content. Okay. My wife says this to me all the time. You just love social media, don't you? I'm like, uh, why do you say that? Because everywhere in your DMs, people are saying, you've changed my life. What a positive force. And I'm like, oh yeah, that's why. Because it's working for me. But if no one's looked at your content, you don't get any DMs, no leads, no nothing. Yeah, content freaking sucks. You just hit on the nose a difference between me showing up for a client and feeling the changes that have happened in their life and how much more profitable their business is, how much more freedom they have as an owner because you're sitting across from that person.
>> Yeah.
>> I need to bring that into the content that I'm making. And I'd love to be able to build more out loud, but I struggle with the confidentiality aspect of those most magical moments happen sitting right across from the client.
>> Are these things recorded?
>> They are recorded, but they're recorded for note-taking purposes.
>> Yes.
>> Not something that I would ever um
>> Well, I'm going to help you.
>> Publicly share.
>> Well, no, you need to publicly share, but with permission. You're going to say, "My business depends on positive word of mouth and testimonials. I was listening back to our conversation the other day and I pulled this out from our conversation. May I have your permission to use this on social and I could abstract any of this? Any of this can be changed or we could not even say your name or just we'll just say what kind of industry you're in." I think most kind-hearted people want to see you succeed especially because you've helped them, especially because they just told you how much of an impact you've made. You do need to share this. I do this kind of stuff all the time.
>> I always share stories that are off the record, but I'll abstract some of it so only the person I talk to knows who it is. I'll say, "One of my friends said this to me and I'm asking for a friend kind of thing,
>> right?" And or, "Hey, look, here's how I do. I'm Stacy, right? I mean, I'm Chris, but I'm you. I'm like, hey guys, I just wanted to share something with you. Um, for 25 years, I'm a structural engineer, electrical engineer, and five years ago, I decided to do business strategy, and people called me crazy for doing this. Why would I want to do this? I'm still in the construction space, but I just had a meeting with one of my clients yesterday who's in the steel and blah da da industry, and they said to me, Stacey, you did X, Y, and Zed for me. And I got to tell you, I don't care how many drawings I've ever done in my life, how many calculations, this is 1,000 times more powerful than anything I've ever done. this is why I do what I do. You could totally tell that story just like that and people are like, damn, who's this woman? Who's this? And have betrayed no one. So if you reveal a piece of information that can be traced back to this human, don't put that piece of information there. Okay? So I know a lot of us work under non-disclosure agreements. Client confidentiality most important thing trust has to be very high. Never ever ever breach that for the pursuit of a new opportunity. You screw over everybody including yourself. Do not do that. Ask for permission. Abstract the details and you should be okay.
>> Beautiful.
>> Can you do that Stacey?
>> I have some case studies actually written up. I just was worried on in
>> the answer is yes.
>> They fall flat.
>> The answer is yes.
>> Yes, I can do that first.
>> Of course you can do that. And by the way, I have case studies. But yes, so succinct. That's what you got to work on. Succinct to the point and just keep the content good for social. Yeah. When when you're a structural engineer, I need you to be highly detailed. Uh no no corner or no stone unturned, no corners cut. But in conversation, light. Light is the way to go. Okay.
>> Super helpful.
>> Oh, see, it wasn't that bad, was it? Come on.
>> No, it wasn't. It's
>> this person right now. This person right here. See, now you know it's over. Um, the root canal is complete. And you're like, "Okay, we're good." Yeah,
>> Christo, not as bad as a root canal.
>> Oh, I think we have a t-shirt there.
>> A t-shirt. T-shirt. Um, yeah. Yeah. I came for a root canal and I got the t-shirt instead. Yeah.
>> Awesome. Okay.
>> Thank you so much, Chris. I appreciate it. See youro.
>> See you in pro.
>> Okay. Thanks a lot. All right. Okay. Um there's no way we're going to do more than three. The timing on this. It's 3:41. We're 1 hour and No, we're 1 hour and 10 minutes into this. I think we could do this in an hour and a half. Okay. Um I'm going to pause here before we take on our next contestant. Drigo. How we doing in the the live? I I just want to make a quick shout out.
>> 180 people.
>> 180 people. Okay. I just And it's only for I guess if you're a patron level member or any kind of member.
>> It's open to everybody.
>> Uh for comments.
>> Yeah.
>> Oh, it's open to everybody. I thought you locked it off. Okay. Well, I just want to give a quick shout out to everyone who is a member of the channel. Whether you're a premier or a patron level member, I really appreciate you. Thanks for doing this. Thanks for supporting us, you know. Um, just as a quick note, I don't know if you're if you're a YouTube creator, you'll notice that your AdSense revenue is like way way way way down or maybe it's just us. And what really helps us to fill in the gaps is all you guys who support us with with like a dollar a month or what's the other amount, Drigo? Is it $15, 20?
>> Do you remember?
>> Uh, $1 a month.
>> Yeah. So, those of you who support us at a dollar a month or $15 a month, um, once again, thank you so much for doing that. We'll continue putting out content just for you. I just looked at the library recently on stuff that's exclusive to the patron level members. There's a lot of stuff now. Drinkle's been busy uploading special uncut, long form content or stuff that we'll never show anybody, but you guys get get access to it. Okay, so we will now move to Lisa. Lisa Masaleni, how do you say your me? Hi, Chris.
>> Hi, Lisa. Lisa, tell me a little bit about you. Let's keep this nice and tight.
>> Yes, I am a personal stylist all the way in South Africa, but I help people all over the world virtually. Um, my focus or my ideal client are women. They are usually from their late 20s up until their 60s um in various sort of transition phases in their life. and I help them to show up with confidence, rework their style and yeah,
>> I love that you have a beautiful accent by the way.
>> Oh, thank you.
>> Okay. Personal stylist. I do remember seeing your work here. So, uh
>> Okay.
>> Okay. What is what is the goal of your content?
>> So, my goal is absolutely to garner leads. So I my process flow is to I um I I infuse um mindset because I find that as a personal stylist, I'm a therapist. I'm a I hold space for women. Um a lot of it is is in their mindset and then we look on to like confidence with clothes. Um so I have this one segment of my content which is called Mindful Mondays. Um and I find that that generates more leads into like discovery calls or style chats that I that I have. Um, so for me the goal is to garner more leads so that I have a style check with them and then they book a service.
>> Yeah.
>> Okay. Before they can book a service, they have to find you on social. They have to connect with your content first. Yes.
>> Yes. Yes.
>> Yes. So book a call. So what is a good predictor in your content that will then know that you it turns into a lead for you then ultimately to book a call? So, when I'm on the call, I often ask, "Okay, what resonated with you to book this call, to make that um to make the jump, to book a call?" And they'd say, "Oh, um it was you said something about this." And it and it refers back to that Mindful Monday post that I've that I've had.
>> Okay. Okay. Okay.
>> Yeah.
>> Mindful Monday. Did you say you're a therapist, too?
>> No. No. No. Not Not a
>> Not technically.
>> Not tech. No, not not technically. Okay. Mondays. Okay. All right. Let's take a look at the content. Let me show the screen here.
>> Sure.
>> Make sure I'm doing this. And then I believe it's this one. Hit share. Are we looking at the right screen? Do we see you?
>> Yes, that's correct.
>> Okay. Okay. You look a little different here. You know, when I saw this, I thought you were a chef.
>> Oh, is it?
>> Yeah. Cuz it looks like you're wearing a white smock, you know, like I'm some a great meal. Oh god,
>> you never eat this good before in your life, honey. Okay, so let me turn the audio here. So here we go.
>> You're not lost.
>> Your wardrobe just needs a guide. Book your free 15inute style chat at the link in my bio cuz you deserve to feel seen. Style queen, it's Mindful Mondays at the style and I'm Lisa, your personal styling coach. Who are you dressing for? Really? The office, your partner, the version of you before babies or before burnout? This month is a call back to yourself. Let's reset. A body shape and color analysis session isn't vanity. It's a tool to honor where you are right now. You're not lost. Your wardrobe just needs a guide. Book your free 15inute style chat at the
>> Okay, now I'm going to look you up. This is you. She's at the styleup Lisa. Okay, so I'm going to go and click on this and we're going to scroll down and kind of see. I see you have nothing pinned. Do you not believe in pinning?
>> No, I do. I absolutely do.
>> How come it's not pinned?
>> I've got um I Oh, it's not on my on my reels. I think it's on the other one. Yeah. So,
>> I I see. Okay. Your two pins are nonreals.
>> Given the way the algo is working right now.
>> Yeah.
>> I pin one reel so that if somebody's on here, they see that at the top.
>> Okay.
>> Probably your highest performing reel. Okay.
>> Okay. No problem.
>> Okay. So, we have it runs the spectrum here in terms of views from 1,00 I see a 10,000 13,000. I did look at this video, by the way, I was like, why why does that one have so many views relatively speaking, right? So, when I just scroll down here, it does look like that's your highest performing reel so far. Well, I think lately because I've had one where I was doing a style hack showing women how to tie a shirt and that got like I think over 80,000 on in
>> Oh, okay. Well, maybe you should pin that one.
>> Okay, cool. I'll check.
>> You guys are all crazy to me. Yeah, you guys are nuts. Not literally, not psychological, but just like, yeah, that worked and I'm going to bury it. Okay.
>> You know why? I always thought that
>> that um the first one like I wanted to I gave a a client testimonial is a pin pinned one and then one about myself. So I thought maybe people want to first read about me or a client that I've assisted.
>> Yeah.
>> So okay I get you.
>> This one has 36,000. This one's 31. You need Oh, this has 170,000. Okay. See there are ones here that are performing really well.
>> So look check this out. So, the ones here where you're in front of like what I assume to be like a little wardrobe and you're doing different fits, I'm going to assume. I haven't clicked on it yet. They have on average much higher views. 24 12 177 46. When we get into these posts, it's considerably lower.
>> Okay?
>> See, like 3,00 1,000 2,000 1,000. Um, and you have to ask yourself why. Now, I don't have the time to go through all of them, so you'll have to go back and figure it out. Okay? Why are these outperforming the other ones? Is it the thumb? Is it the tips? Is it these do do better in terms of clients, but not as well as in terms of views? What is it? And then what we want to do is have our cake and eat it. We want lots of views and we want leads. Okay.
>> Okay.
>> Um because that's that's how this is going to work because depending on who sees it, a percentage of people who see it will convert into an interested party. Okay. Okay.
>> Now, I'm curious. The delivery of this video that we just saw, it's a little staccato. Do you know what I mean when I say staccato?
>> Yes. Like the flow of me speaking?
>> Yes. Is that your normal style of speaking or did you were you experimenting? Tell me more about that.
>> I think I was experimenting. I I've for me I think when I have a little bit of a pause it also sort of creates that um that time for the person that's watching to think about what I'm asking them.
>> Um that was my thinking around it.
>> Okay. So it's a deliberate thing for you to pause that often.
>> I think I don't think it's deliberate. I think I deliberately done post.
>> It's either intentional or it's like I have no freaking clue, dude. All right. So, here's what I'm gonna say. All right.
>> Okay.
>> Um, staccato things are really hard to follow. It requires my brain to remember the last thing you said and the next thing you're about to say. And you're it's like a mental exertion. Anything that creates mental exertion for me is like uh I'm just going to fade out here. So, we can do this in a number of different ways. Like, if we think how do we get people to be really bored with our content? Number one, speak in a stato style with long pauses arbitrarily. That would be really hard. You see how like how hard that is? It's painful.
>> Or uh we can just overwhelm them with too much information.
>> Or we can say things in a monotone voice like we never change our tonality. We our energy is consistent throughout. If you were to add all three, you would kill them. It would just And you would kill your account.
>> Yeah. So when we say something profound, pause, but not literally after every sentence, because every sentence is not that profound,
>> unless you're telling me you're the fashion philosopher of this decade, you know?
>> Okay. And you know what?
>> I It's harder for me to appreciate your accent when it's broken out so long, you know? Let's just flow, girl. Now, if I didn't know any better, I was thinking, you're reading off a teleprompter, and the teleprompter is so slow. I'm like, read faster. Turn to speed up. Now, I'm just gonna ask you, were you reading off a teleprompter?
>> I I was. Yeah.
>> See how I know these things? All right. It's getting a little hot under your collar. I see. Okay. I can tell, guys. I mean, I read off a teleprompter, too, and I do my very best. And people like, "Chris, we can see your eyes moving." I'm like, "Yeah." Yeah. It's true. It's true. Okay. Okay. Just like with Stacy, when you're having fun, I'm having fun. M
>> okay. And so we need to figure out what the heck you're going to say.
>> And here's what I was thinking for Mindful Mondays.
>> Yeah.
>> You could do a couple different things cuz this isn't like you can't be all snappy and high energy because that seems to be the opposite of mindful Mondays right?
>> Yes.
>> Unless you do a play against type, which can work too. And I'll show you what I mean. Okay. In Hollywood, there's a term. It's are you playing to type? Are you playing against type? People get tight cast.
>> Okay.
>> Yes.
>> So, we expect Brad Pitt to be the strong, good guy, leading man. So, when he plays a scumbag, we're like, "Whoa, whoa, what's going on here? How is Brad Pit?" No, I just I'm not buying it, guys.
>> Just not buying.
>> Okay. We want him to be a certain thing.
>> So, we would think, well, if you're going to do something about mindfulness, it's got to be zen. It's got to be chill. But what if we did this like every second half you cut and you just showed the hustle and the bustle? There's time-lapse footage, the traffic, the birds, and the internet's screaming. It's like overwhelming and you're like, "Stop." That's when you do the dramatic pause. It's Mindful Mondays, everybody. I'm I'm Lisa. I'm your stylist, girl. Whatever it is you want to say. And then you're like, life can move really fast. Let's take a moment. So, you see one creates tension and then you break the tension. That's playing against type. Okay.
>> Let's play two type. know playing too tight. A lot of slow, tight shots ASMR. You know, you rip open a little package and you pour the bubbling hot water. You stir with a little stingink blink and then you cut to a shot of like birds outside or something and you hold this cup and you just blow on it.
>> It's Mindful Monday. It's almost like a whispering voice.
>> That's playing too tight. Now, doing those things are very uh it activates our senses. It's like makes the hair on our neck stand up. And for a certain group of people, ASMR is almost like therapeutic. It's like I get goosebumps. So, think about that. So, not only in the words that you're saying, but the things that you're not saying, create that mindfulness state.
>> Got you.
>> Seduce me with the visuals, girl.
>> You know,
>> run your fingernails across the surface. unzip a bag,
>> pull something out of the of the box, uh do anything that makes a sound and put the microphone right there.
>> If you have a little shotgun mic, they're really good for that.
>> Have every little thing so I can hear and then just whisper to me. But don't take those long breaks.
>> Okay. There's this woman that we know, so I don't know. My friend Joel introduced me to. She speaks the camera and then every third sentence she whispers it. She was like, "You can do this or not and then everything will be okay, you know, and you don't have to." She does that all the time. I'm like, "Whoa." I know she knows what she's doing there cuz that disrupts or interrupts the expectation all the time, right?
>> So, think about that. And you know what? You're doing something that is not only fun and visual, but also has this other component. But, you know, when you look good, you feel good.
>> Yes. And when you feel good, you kind of change how you behave. And then people change how they treat you and how they see you. So showing up in this world, like I know a lot of people think fashion is superficial. To a degree it is, but to a totally different degree, it's not at all
>> because we're signaling to people all the sorry we're signaling to people all the time
>> things about us, our values, our beliefs, our preferences, our taste level nonstop.
>> Yeah. Most of us just do it without any intentionality behind it and you make that that there's a plan, there's a strategy.
>> Yes.
>> So doing like a skin analysis or a color palette just to help you look your best and you can explain those things.
>> Okay.
>> So that's what I would look into. I would look into like why you have 800,000 viewed bangers and things that get tens or 100 thousand views and what is the common commonality between those. And if they bore you, that's okay. But at least you know what it is that you're walking away from.
>> Okay?
>> Most of us are kind of like at a what is it? A rock concert and you're in the mosh pit. You know, you seen those people in the mosh pit. They're just punching and kicking random things.
>> Yes.
>> Imagine doing that in the dark. That's how we do social media. We have no idea what worked. We're just doing stuff.
>> Let's have a hypothesis. Look at what's worked. Write down two or three things that you think it could be and then test those things. Have a control and test a few variables. Okay.
>> Awesome. Awesome.
>> As a stylist, as a person of color with a beautiful accent who's works with women to build her confidence through clothes. I like that line a lot by the way.
>> Okay.
>> This is a layup. You should be like three pointers all the time. Okay.
>> Yeah. Yeah, I got you.
>> Okay. And and show off your voice. Just keep talking to the camera.
>> Okay.
>> Yes. What's up?
>> The comments are saying they like to see more clients on our feed as well.
>> Okay. So, um the people are watching this live stream are saying we want to see more of your clients on the feed as well. So, talk
>> I was going to ask that. Yeah.
>> Yeah.
>> Yeah. Okay.
>> Yeah. Uh, so this is also a problem that Stacy has. The before and afters are great or just talking about how I don't know how you do this without embarrassing people.
>> That's the thing. Clients are not really comfortable, but um yeah.
>> Yeah. But you have family and friends and relatives.
>> They volunteered for this set of we actually shooting on Saturday. Um we had a a competition. So in South Africa it was women's month and we had a competition with all these womenowned businesses. So, we actually doing her makeover on Saturday. So, be shooting that in the studio. So, that will absolutely be Yeah. a nice piece
>> that we'll be posting.
>> Hey, Richard. Sorry. Dal doesn't have a mic. We don't have the ability to set up another mic right now. Actually, we do, but we're just too lazy to do it. So, it'll be what it is. Okay. So, I I I want to say this, too. Let's just say you helped out somebody who's a little timid about, you know, I feel I don't want to be in a spotlight, especially before and after. What I would say to them, I totally respect that.
>> Let me make a pitch to you. May I make a pitch to you? And they're like, what? You're like, you know, we're we're trying to change how a lot of women see themselves. If you were so brave to share this, I think it would just light up so many people, but only do it if it gives you joy. [Music]
>> What animal is going to say no to that? What kind of narcissistic selfish pig? I'm just kidding.
>> You know what I mean? Appeal to their angels. See what they say. Maybe two out of five they'll say yes. Yeah. Go for it. For a higher cause, embarrass me. Go for it. It's just cuz if we say for my business and like no,
>> right?
>> Yeah.
>> Yeah. There's so many women and girls out there who suffer from this and I I think you have a beautiful story and I love the bold brave decisions you made and I just I'm just feeding off your aura girl.
>> Thank you.
>> Right. You
>> Thank you so much, Chris.
>> Such an honor to be here.
>> Let's do it.
>> Let's do it. Okay. All right.
>> I will. I will. Thank you.
>> Okay. And then tell me what happens
>> when of
>> Yeah. Yeah. Start posting. start changing it and then send me a DM like, "Hey, I did this. Here's what's happening."
>> Just send me a DM on Instagram. I'm available.
>> Okay.
>> Thanks, Chris.
>> You're very welcome.
>> Okay.
>> All right. Let me just take a quick break here. Let's check in on the crew. Drigo, you could run a really long cable and put a podcast mic, but we didn't do that ahead of time. So,
>> do a lot of things.
>> People love you. What do you say?
>> I said we could do a lot of things. We could do we could put a camera on you. I could switch it to that camera. There's a lot of things I could do, but here we are. All right. Uh, any other final questions? Um, should we try to do one really quickly? I'm kind of tired. Um, Carrie Andress, what should we do?
>> Selfishly, I want to say yes because I really enjoyed the next person's content. So,
>> you're so selfish.
>> Okay, Melissa, let's do this. Hello,
>> Melissa, right? Hi, Melissa.
>> Yes. Hey.
>> Okay, you are here mostly because Andress is selfish.
>> Thank you, Andress.
>> So, let's do our thing here. Okay, we're going to have to do this like lightning round style because I can tell my energy is waning right here. Are you in Hawaii? Where are you?
>> No, I'm just super Hawaiian looking. I actually get high tore with Hawaiian artists specifically because I love
>> Because you have a freaking flower in your ear.
>> I know. Well, the Hawaiian person put the flower in my ear and then I was like, "Well, it looks cute. I'm gonna just keep it." So, yeah. I'm black and Japanese.
>> Oh,
>> black and Japanese. So, you're Blazian.
>> Yes, indeed.
>> I was trying to find the right term. I was going to screw that up and that would be horrible. Okay. All right. Let's do this. Okay. So, Melissa, tell me a little bit about you.
>> Okay. So, I am a black and Japanese musician primarily. Um, I went to school for violin. I went to school for classical violin. Nowadays, I play all styles. Um, I've had a lot of really wonderful life affirming moments lately where the uh fracturing of my path from the strict classical path onto a more modern path has really uh, you know, kind of come full circle recently. Just last, uh, in July, I got to play with the San Francisco Symphony where they were playing Led Zeppelin and I'm ripping a violin solo over Led Zeppelin with the whole symphony behind me. So, like, you know, it's been a it's been a beautiful time. Um, but the issue that I'm kind of facing now is like I want to be a personality. I have a wild story to tell. You actually uh watched I don't know if you watched the whole thing because it was a long video and I apologize. I didn't think anyone was going to watch it at all. So I was surprised that it went through and even further surprised that thank you to Andress who checked it out uh was even uh more interested you know. So I was
>> hold now you're going too fast. It's like we have everybody from Stacato to like now speed demon. Okay.
>> Yes. Yes. Sorry.
>> Okay. What caliber of musician are you?
>> I mean, there's there's no
>> Can I just say it?
>> All right. I'm world class. There's not a lot of
>> world class. That's all I want to hear. You're world class. Are you first chair?
>> Uh, if I did classical music, depending on the the scenario, I could be. Violin is an interesting thing. I'm not a classical violinist, so I cannot outplay a classical violinist. Um, I went to school for classical music, so my chops are good. Um, it's what I got my degree in, but uh, my specialty is in modern styles. I like taking, you know, I like playing violin over uh, you know, Tupac California Love. I, you know, my kind of thing is to be more
>> I like that. Okay. Okay.
>> So, there's not a whole ton of us.
>> All right. I get it. So, you are a world-class musician. Okay. Uh, now let's take a look at the content. Okay.
>> Yes.
>> You share this first.
>> Can I give you a tiny bit of context and I'll be quick?
>> Yeah, you can.
>> Cool. It was a 5K lore drop because I hide a lot of things about myself because sometimes I'm scared to share. Um, I got a whole bunch of new fans from this thing called Street Beefs because I went and played violin for one of their fighters and I also did a fight there. So, I got a lot of exposure. All these people came in. So, I was like, let's do a lore drop about the fact that uh I'm black and Japanese because my parents were cult members and they were part of a cult called the Mooneyies and the uh cult leader son beat up my dad and declared him the devil and me the antichrist when I was born. So, I was like, you know what, that's a fun story. Let's start that. Let's start sharing more of the things that are interesting about me because I don't want to just be a luxury event and wedding violinist. I want to be a real artist and I want to create a fan base and have leverage to do that. So that's what I'm here for.
>> Okay. That was a lot for me to process, but I got the story. Let me share. So you're you were raised in a cult or did you leave immediately?
>> They they left right when right as I was born basically. So yeah, the antichrist.
>> I got you. Me. the antichrist of worldclass musicians. That's your your intro. Here we go. I'm going to share this and okay, we're on the safari window here. I'm gonna I'm hit
>> huge cult for a long time. Very powerful cult. Um including you know him doing ceremonies for people members of Congress and like you know people in world government and in massive uhly powerful media. Pretty scary stuff when you consider the scope of his power. Um so he was a very powerful figure for a long time and um one of the tenants of the church is that you had to have kids in order to you know understand the true father's plight and life. So essentially um they my non-biological parents were too old to conceive children. So my biological parents were like oh no problem we'll just make you a kid. So, that is why, if you've been wondering, uh, that's why I am black and Japanese, but I have a German last name, Melissa Fosen Logan. My actual name was supposed to be Kingdom Harmony Foss and Logan, but because of the events that will follow shortly, my parents decided maybe that wasn't such a good idea. And then they decided it on Melissa as my name because that was the most normal name they could think of. No. Um, shortly before my birth. I have to actually double check all of the timelines on these, but loosely.
>> All right, this get too long. I'm gonna hit pause. Okay.
>> Yep.
>> There's a lot of things here. So, let's go look at your account. Uh, it's as ba ba ba like bay toen. I like that. It's pretty clever. Okay. Beethoven. I'm going to look at your account here. I'm going to look at your reels.
>> Okay. So, uh, was it this one that we just watched?
>> Yes.
>> Okay. So, I made that for an audience of like basically no people. I'm surprised anybody watched it.
>> Okay. You can tell she's a serious musician. Her whole ceiling is with acoustical panels here and she's got a bunch of guitars in the back. I'm not a musician. I wish I were.
>> Hey, there's time.
>> Here's one. When you're rocking out with 118,000 and there's 1.2. You mentioned something about fighting or fights or something. Let's check out these two. Okay, let's do it.
>> Yeah.
>> This one and see what happens.
>> Where the he wins lose draw. I don't want him to get hurt.
>> Mighty Mouse.
>> Yep. I'm in a Mighty Mouse video. [Music]
>> It's a basic trailer. Uh, it's not very super ventful, but
>> somebody else shot the video.
>> Yeah. Yeah. I I
>> And you doing this music live to it or a post?
>> I was playing violin live. So, the vi the music you were hearing was coming, but then afterwards Yeah.
>> That's death sentence. I love freak show stuff cuz I'm a freak, you know. So, when people let their freak flag by inspires me to do the same, you know.
>> Okay. The way it is is I could either hear this or listen to you. Which one do you prefer?
>> Uh listening to me because there's not really anything happening in the video that's uh important, I guess. Um
>> Okay. Okay. So, uh where where is this? Norcal.
>> This is in Washington. I went to Washington for this. Yeah.
>> Okay. And who do you know in this that got you roped into doing this fight? I just hit up the guys from Scrapyard because I was I've been doing martial arts for like four years. So, I actually went there to do a fight originally and they were like, "Hey, do you want to play some violin?" And I was like, "Yeah, boy." So, they asked me to play violin for a death sentence, who is this gentleman here who is very internet famous because he's he's a character, you know?
>> He's a character.
>> Yeah.
>> No,
>> his a little tight. Okay.
>> Huh.
>> Yeah.
>> Must be his thing.
>> It is. It is indeed. Uh that
>> that that costume malfunction's really done a lot for him.
>> Yeah, he needs to wear a cup. This is dangerous.
>> He's not going to.
>> Well, his future children may or may not thank him for this. Okay. All right. So, you're into this. Okay. So, it seems like those again, we're we're genre smashing here where we're doing something quite unusual. Um performing live for a fight.
>> Mhm.
>> Okay. Okay. Now we get further back, we're getting more into like this is me being like I'm trying to get weddings. I'm trying to get corporate. You know,
>> I don't post as much as I should, but you know, I I think my issue sometimes is I don't want to just be a corporate wedding events violinist and I but I don't want to separate those two parts of my personality because I want to be one entity. I want to be myself. I don't necessarily think I would be best served by splintering off who I am as a comedic and fun person uh as opposed to just having a clean corporate wedding violinist energy, you know.
>> Yeah.
>> I'm going to play this one. Okay. Let me just listen to this while you're playing on stage here. [Music] Okay, I get it. I get it. Okay. You have a lot of fun doing what you're doing. I can tell.
>> Yes.
>> Lot of lot of flare.
>> Thank you. You got a lot of fire. Okay. So, what what do you think is what do you suspect the reason why your content isn't blowing up? Because I think a person who can play music is was born for this platform.
>> Well, um I think it's a couple of things. I one I just don't post enough. Obviously, that's going to be a problem for growth. Uh, two, I am scared to uh I'm scared to tell my stories and then not have the attention or the focus on it. You know, I've spent so long in obscurity releasing stuff that got like, you know, a hundred views and stuff that I think that fear is still inside of me that I will express myself to the world and I will still not be heard and the effort will be for not and I will be just someone who people can see tried hard and failed. Even though I have career success in a way that I, you know, I I could have dreamed of when I was younger and now I'm doing those things, but I still, you know, I worry that, you know, what if it's just not for me? What if I don't ever figure it out?
>> Okay. Okay. A couple things. Number one, uh, the piece that you submitted, I just want to give you some feedback on. Okay.
>> You have a wild, crazy, interesting story, but you're telling the story in a linear way is mostly like what people do in a narration style. If do you listen to the Moth Radio Hour much?
>> No, but people keep telling me to listen to it.
>> Yeah, there's a reason why they're telling you to listen to it because they know how to tell stories. So, listen to the Moth Radio Hour, they have a podcast and they have built on themes and they're very good. Now, here's the thing that surprised me but doesn't surprise me. Almost all the ones that have me in tears listening in the driveway while I'm still sitting at home, it's because they're writers. Duh. writers know how to craft a story. So, I think when you're doing top of dome, it can be a little sloppy and unstructured. So, I would love for you to sit down and try to write your story. And we don't begin the story at the beginning. We begin it at the point of greatest conflict.
>> Okay? Um uh some of you don't know this, but I was labeled as the antichrist. Let's just say what?
>> Okay. And then you reverse engineer. You tell just parts of the story and you have to kind of keep telling people what's at stake cuz your story is and then and then and then and then which is not that interesting. Instead, if it's like but and or instead of this happened, there's twists and turns, right? So, we have to kind of give them enough to figure out what's going to happen and then create tension around no this didn't happen, this happened instead. It's those little diversions or kind of turns in the road, the forks in the road that make it a story really interesting
>> and you have to kind of set up an expectation and then disrupt it. So great stories have other senses, sensory detail. It's rich in dialogue and you're painting the scene. You need to act out those moments. So when you're just saying it to camera like that, although it could be the world's most interesting story, it's not being you're not giving it the best chance to succeed. So go back and think, okay, like here, I'll give you an example. Okay, if you're going to write content, everybody, think about this in your mind. What are the top three turning points in your life? Just think about that. What are the top three turning points in your life? And you should be able to quickly scan your memory bank and say, there's one, there's two, there's three. and then write about it like what was it that flipped the switch for me. And if you know how the story ends, you'll know how to begin and you know what parts to include and what parts to exclude. So you could tell your story in multiple parts. Act one, how does this story end? And then only tell the parts that build up to that ending. Otherwise, it's just extra information. Okay. So, in this story, I'm trying to figure out. So, cult, uh, there's the black and there's Asian, and there's the biological, the nonbi. There's a lot for me to figure out, and not all of that is relevant to landing the plane.
>> You'll see that master storytellers and comedians usually will tell you something, but they'll only tell the parts, right? I saw this comedian recently. He's brilliant. I'm spacing on his name right now. I follow him, too. I think he's Italian. He goes, "Uh, being dairy intolerant or lactose intolerant is not something that you bring up on a first date."
>> He says, "So, I'm already feeling tension." So, he goes, "So, I don't say anything and I eat the dessert and I pay for it later." So, we wind up back at her place and I'm like, "Um, yeah. Uh, so do you like have a bathroom I can use?" You know, it's like we're just thinking in her mind quite figuratively and literally, "Holy crap, what's going to happen?" And he goes, "I was expecting her to like go down the hallway and leave the building and then I can deal with my business." She goes, "No, it's right here." And they're watching a movie together. So, he's setting up only the parts that make sense. He didn't tell you about what she looked like, where they were, what they ate for just being on a first date. You don't tell people you're lactose intolerant. You just s the bed later. That's what he says. and people laugh. So, you see what I'm saying? It's a lot of editing. So, you think, where does the story end and how do I begin it with a maximum amount of tension? And now, once you have them hooked, they can't get off.
>> They just can't get off. And you keep the tension. Okay. So, I would love for you to literally just sit down and figure out what the turning points in your story are and then figure out how many parts of the story you want to tell and then just break it into bite-sized pieces. make each part work and then when you glue them all together, they should work really well.
>> Okay,
>> that's my feedback for your story. It's just too much for me to consume and it's too much information for me to remember. Okay.
>> Yeah.
>> Number two. Number two, in terms of your musical content, I've seen things where people break genres and they do mashups that do really, really well. Clearly, in your fighting stuff, there's two things that are working for you. I do not expect a half black, half Asian woman to come in with a violin right before a guy with pants too tight for him to punch each other in the face.
>> That is such an unusual pattern interrupt. No wonder has so many views.
>> And the other part to it is it was produced well. It was like good camera, good exposure, good movement on that kind of stuff. And so you're getting the help of like good production. All things being equal, better production outperforms like sloppy production. Better concept beats better production, but all things being equal. So, I would love for you to try to give yourself the best shot of giving yourself good production. So, the one where I watch you performing on stage with a bunch of people, the camera's not even on you. It's low quality. And I hear the other instruments sometimes more than I hear your instrument. Mhm.
>> So, you know those ones where they like sing uh in the middle of like a cavernous parking garage
>> and the reverb on it is crazy.
>> Yeah.
>> It's clearly focused on the audio experience. So, I want you to perform when you're the focus of attention when your audio is the cleanest and and clear so that I can just hear you. Unless you're one of you're doing what do they call those things buskers where you're like in the middle of the street and you just perform and you do something a little unusual then the environment is the story and it's not the instrument itself. But I want to be able to hear your instrument more. Okay. Especially you out in the wild. I think that's going to work. And especially as you're busting genres like you said you'd rather play violin to Tupac or something. Those are things that get a lot of attention because we've not heard it that way before. your interpretation of it. What's what the thing that excites people? So, I just want to see more of that. Okay.
>> Okay.
>> Okay. Is that cool?
>> Yeah.
>> Yeah. Are you in LA? Where?
>> Yeah, I am in LA.
>> Yeah. Yeah, I'm in LA right now.
>> Oh, what part of LA?
>> Uh, right now I'm in Long Beach. After this, I'm literally running up to Hollywood to play for Max Amini, who's like a big comedian. So, like that's, you know, I'm having a good day.
>> Max Amini. He's Iranian.
>> Yeah. Uh, I'm not 100% sure. So, I'm not going to say cuz I don't want
>> Max. I know him. He's kind of tall and skinny.
>> Yeah.
>> Yeah. On that guy?
>> Yeah.
>> You're playing for him?
>> Yeah.
>> Dang. Will you say hello to him for me? I'd love to have him on a on a pod or something.
>> Happy to pass along.
>> Yeah. He's he's funny as heck. I like him. Okay. All right. This is very cool. So LA is your base of ops. And you said Long Beach.
>> Yes.
>> Okay. Cool. All right. Well, dang. I mean, you're you're in part of all the stuff, all the craziness, all the hip-hop, everything, right? Mhm.
>> And you play the drums, too. Is that the drum s?
>> No, this is my full studio, but uh I we have a drum kit. I play drums terribly. I have a lot of fun.
>> You know, that's probably your bio. I play drums terribly. You should listen to me on the violin. That's a private interrupt, by the way.
>> Yeah.
>> Yeah. Okay.
>> Who knows? Okay. I mean, you could literally do this in a video. I don't know if this is a good idea. You could literally just play that like, "No, who am I kidding?" You just jump over to pattern interruption.
>> Yeah. Just Yeah. Don't hire me to do this.
>> Yeah. Yeah. You like she's terrible. You're like, "Hold on, hold on. Let me do this other thing."
>> Yeah. Yeah.
>> That could be kind of cool. Uh, do you roller skate or do you anything else?
>> Um, well, aside from martial arts, that's really my main other thing. I like I play violin and I kick ass. That's my those are my two main hobbies or my two main things.
>> What What kind of martial art?
>> Uh, boxing Muay Thai. Muay Thai mostly. Uh,
>> good. The violent kind.
>> Yeah, I'm the violent violinist. That's me.
>> Is that what you call yourself?
>> Yeah, that's my fighting name. The violent violinist. Oh, I would just put that in your bio.
>> You have too many stories. Black, Asian, cult antichrist violent.
>> Well, that's my problem. I know I have I don't know how to tell it in a way that is concise because nothing is concise about me.
>> Yeah. And that's the problem. You sometimes may have an abundance of ideas and it's overwhelming for people. You need a good editor is what you need. I don't mean like a person cutting your videos, but a person's like, you know, you need to just focus in on this,
>> make it about that. Okay. So, what you have to do is you have to show constraint.
>> It's like drinking from a fire hydrant. It's just too much.
>> So, try one thing and just stick to that and see like how that works and then you can try a different idea and stick to that for a little bit. And so, let's do this. When I I do like content workshops, I tell people to do the 30 3030 plan. It's a 90-day plan. The first 30 days, no rules. Do whatever the hell you want. No results. Who even cares? Just experiment. Have fun. Do 30 experiments every day. Do a weird thing, okay? And don't even look at the results. Like, forbid yourself from looking at the results because they'll be disheartening sometimes. Okay? Do it as a form of exercise. The next 30 days, what you do is you look at the first 30 days and you see what are the two or three things that worked the best. It gave me the most joy and see if you can repeat that. So now we're kind of having an informed decision and we're kind of narrowing it down. Like you said, oh, Chris had better production, so I've only been working with people who shoot nice videos. That didn't do anything for me or it did do a lot for me. Or he said, um, do this in the street and do genre mashing, whatever it is. Or make sure I'm the focus, you know, try that. Try a couple different things and see what happens. And you're kind of like I I say this in the in the most uh uh respectful way, like you're kind of cooky and weird, and I like that about you.
>> Thank you. So, you just got to lean into that.
>> You got to lean into it. Maybe it's one of these things where you uh you come up to sugar cane, you just crack it in half and you pick the violin, you play. I don't know what it is.
>> Mhm.
>> I don't know your level of violence. You you do you and see what happens. So, first 30 days, 30 experiments, do not look at any results because they'll influence the other whatever experiments you're going to do. second 30 days look back form a hypothesis the two or three things that you think work that also give you the most joy and for that month just work on those things you don't have to create 30 days then you you probably create one every 3 or 4 days and then the last 30 days I think I found something refine refine refine that usually gets you to something that's going to both give you joy but also build an audience for you okay
>> I wish you well continue being the violent violinist just out towards me and uh say hi to Max for me.
>> We'll do. Thank you.
>> Okay. Very good. All right, gang. We've we've somehow managed to finish out a gazillion hours. It's now midnight here in Los Angeles. I'm just kidding. I'm I'm just turning off my mix minus here. And Andres and Carrie, um what are we doing now?
>> Team,
>> that's a great question. I I would love
>> You have no idea. I have no idea. I'm leaning on.
>> There's a call to action here, everybody. There's a call to action.
>> Chris, I'd love for you to talk about Content Lab.
>> Yes. Yes. Yes. Yes. Okay, everybody. Um, I have a confession to all of you. I have been guilty of not eating my own dog food. You know how I tell everybody, focus, focus, focus, be super narrow, uh, niche, tea, skill, the whole bed. I' I've been Mr. Comb. like I'm doing lots of different things and it's been to the detriment of our business. I had big dreams. I want to change education. I want to have the funds to be able to continue to do content at a scale which you've never seen before, at a level which you've never seen before. And to do that, I need to make money. And the idea now is, you know what, we need to focus up on what gives me joy today. What gives me joy is to make content and to teach people how to do the dough method, which is I don't obey algorithms. I don't do content hacks. I don't follow trends. No trending audio, no trending music, no trending trends. I just I'm not into that. I make content whenever I feel like it on my own schedule, and I don't really care what happens. Oddly enough, it's helped me to create hundreds of thousands of followers on almost every social platform. In some cases, million plus followers. And how am I able to do this? I don't know that many content creators who can do it on multiplatforms. like I started on YouTube, Instagram, Twitter, LinkedIn, Tik Tok, all have six figure plus followings. So if you are a person who creates content, you are a coach, um, an author, a thought leader, and you're tired of just making content for content's sake, and you you're invested in this, you want to see it work because you know the value of content. I'm not here to convince you, but if you've enjoyed any part of this and you think I'm the kind of guy who would uh get who you would get along with and who could possibly help you, this was a little sample. This is an amuse bouch. This is what we're going to do inside Content Lab, a new program that we're launching and Carrie will share a link with you. It'll be a link in the description. We meet twice a month. We do hot seat coaching, which is each person 10 minutes. And I think for the first 40 people who sign up, you're going to be guaranteed a coaching spot. And we have resources. I've compiled a bunch of things on how to tell a really good story, how to write, I'm sorry, how to write compelling hooks and lines. We have 52 writing prompts like once a week, so you'll always know that you have something to do, but not in a way that overwhelms you. I think once a week is a good cadence, especially if you're not used to consistently producing content. Look, if you enjoy the kind of content that I produce, if you engage with it on social media, if you like the style in which I deliver things, that's all I'm going to do is I'm going to teach you how to do what I do. Period. Uh, so no engagement groups, no weird black hat stuff. It's all above board white hat. And I don't really care about schedules or posting times and optimizing for all of that. I'm sure some of you want to do that and that's okay if you do. But my style is when I feel inspired, I write. Luckily, I'm inspired a lot, so I write a lot. I want to help you do that. It's called Content Lab. It's starting this month. It's been something that Carrie and I have been cooking around for a little bit. So, Content Lab, it's going to be open really soon. So, you want to get on the waiting, if you want to get on the waiting list, links in the description. If you're watching this live, we'll drop it right now. Carrie, please do that for me. And that's it for me. So, on behalf of the entire team, unless Carrie tells me otherwise, um that would be Andres, Hodrigo, and of course, Carrie Green. Thanks for watching. If you've enjoyed this, please go ahead and like this video. Leave us a comment, tell us the part that you thought was most valuable, the one thing that you thought was the most valuable. Leave in the comments. I think we'll be doing more live streams again, and we'll be doing it from our Santa Monica studios, not just here in Pasadena. Drigo, you want to say something to me?
>> Um, are we doing another live stream like this? And there much content.
>> Oh, yeah. Yeah. Are we doing more more things like this? We we'll be doing a lot more live streams, y'all. And we're producing more in-person events. So, if you're in the greater Los Angeles area, be sure you follow me on social. Uh, sometimes I do things on YouTube, but more often than not, I'm posting on Instagram and LinkedIn. That's where I'm most consistent in terms of announcing things. If you're anywhere in the neck of the woods, come by. Come be part of the event. We have incredibly intelligent successful experienced people sharing the knowledge with us almost for free. So, Content Lab, how much does it cost? It's $500 a month. So, that's $6,000 a year. Essentially, if you buy the year plan, which I recommend you do, you basically get two months for free. So, you pay for 10 months, which is five grand. Um, and if you think one new lead, one new prospect is worth five grand, then it's a no-brainer. Okay, that's enough of me talking about it. Sign up for the weight list. We'll let you know more about it when it officially launches sometime later this month. That's it for me, guys. Thanks very much for doing this. I'm all sweaty. I'm a little tired, but I'm never tired of seeing you. So, thank you very much. Bye, everybody. You kill the stream or I'll play some music. [Music]
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“Stories need tension.”
— Chris Do
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