When you see a performer at the top of their game, killing it from the stage, looking effortless in their ability - it can be easy to forget the hours, weeks and years of practice that went into that performance. 

Did you know that Beyonce and her team rehearsed for 8 months for a 1.5 hour Coachella performance? This is what rock stars do. They practice, a lot. 

Want to channel your inner rock star? 

Listen in as I talk with G Wright, a Producer & Media Trainer at All Things Relax Studios, who has worked with rock stars, publicity departments, publicists, & record labels gaining insight into what performers do before they go on stage.

Drink of the week:Rockstar Cocktail

If you liked what you heard today, please leave a review and subscribe to the podcast. Also, please remember to share the podcast to help it reach a larger audience.

Julie Brown:

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G Wright

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In 2010, Adam Levine and Christina Aguilera had us all singing out

our car windows declaring that we had the moves like Jagger.

Now take a moment and imagine what your company or your career would look

like if you really did have moves like Jagger, if you had rockstar moves.

Welcome to episode 1 29 of This Shit Works, a podcast dedicated to

all things networking, relationship building, and business development.

I'm your host, Julie Brown, and today I am joined by g.

A former tour manager and sound engineer with over 25 years in the

music business to teach us all how we can channel our inner rockstar.

Welcome to this shit Works Your Weekly No Nonsense guide to networking your way

to More friends, more adventures, and way more success with your host, Julie Brown.

Here we go.

As a tour manager, G worked with many publicity departments, publicists, and

record labels to prepare artists and lead singers for media interviews for 25 years.

G had a front row seat at these interviews and performances, gaining insight to what

performers did before they went on stage.

And now he's sharing these proven tips and techniques so that you can

use these rockstar moves to promote yourself, your business, your book,

your product, or your company, whatever it is you've got going on.

Gee, welcome to the podcast.

Thank you, Julie.

Thank you for having me.

I'm excited to be here.

I'm excited to have you as well.

I think the first question probably you get in every interview is how

did you start in the music industry?

Well, ever since I was five years old, I wanted to be a radio dj.

So I used to pretend I was a DJ with my Mickey Mouse record player, and

I played my mom's Barry Manilow and Carpenters and Beatles records, and

I scratched a few of those, but.

I was going down this path of being a radio dj.

Then at 16, I actually became a commercial radio DJ for a top 40 radio station.

So I was gonna follow in the footsteps of my hero, Casey Kasum.

And then when I turned 18 and I graduated high school, I went on the road with a

U S O type tour performing at Veterans Hospitals all throughout the country.

And while we were on tour, I ended up sneaking into a Whitney Houston show.

Meeting her tour manager.

And watching the show from front of house while her front of house

engineer was mixing the show.

And at the time I was a front of house engineer as well for, you

know, a much smaller production.

But you know, Julie, when he put the headphones on me and I heard Whitney's

vocal in my ears, I was like, this is it.

This is what I'm doing.

That's it.

It was the crossroads and there was no, no choice.

I was gonna be, you know, go on the road with bands.

I'm gonna mix sound, I'm gonna be a tour manager, and I'm

gonna go all over the planet.

And that's what I did for over 25 years.

How do you go from saying, this is what I'm going to do to

actually doing it, because those are two very different things.

the first thing that the tour manager and front of house engineer told me is that

before you do anything, you need training.

You need to understand everything about how sound works.

You need to understand how this equipment works.

You need to understand acoustics and different rooms and things.

So you need to go to school to get this.

So I went to a recording school in Orlando called Full Sale and went through their

program and my very first gig out was working at Dollywood with Dolly Parton.

Yes, I was.

I was mixing a live band, 14 singers and dancers, full band.

Everything was live.

There was no tracks, no memorex back then, and I was doing

that like seven shows a day.

So I say the first thing if somebody wants to do something is get to training.

Of what you wanna do and then put yourself in a position of

where you do that every day.

Because those five shows, seven shows on weekends at Dollywood is really where

I learned my chops of how to mix sound.

Okay.

I couldn't just walk up to a board like Whitney Houston had or any, any artist at

that level and say, I'm gonna mix a show.

You have to start not at the bottom necessarily, but you have

to start, you have to be realistic.

What education you have, what experience you have, and there's

nothing better than just deciding to do it and then do it every day.

So if, like, if you're a coach starting a business, it's one

thing to say, I wanna do this.

It would be great if I could do this.

It's another thing to say, I'm a coach, I'm getting a training, this is what I

do, and every day I'm just doing one step closer and closer to learning the craft.

Yeah.

It's funny when you first started talking about listening to your mom's

records, I like, I immediately started thinking of the records that I would

listen to cuz you know, I'm of the age where we had records record player.

Yes, yes.

And so mine was Jay Gil's band.

Yes.

I would sneak that and listen.

Cause I always thought it was so, I always thought it was so like adult because.

The name of the album was Piss on the Wall or something like that.

And I used to take it and like, and like snicker and then

it was always Neil Diamond.

Yes.

Like it was those two that I would listen to.

And then if I went to my Nana's house, my nana was of a different era.

She always listened to musicals.

So like I remember the one record she would play over and over again

was Man of Lamancha like, so like somewhere in the recesses of my brain,

I know all the words to that record.

I wanna get into, so now we know your history, you've mm-hmm.

, you've had 25 years of watching amazing performers.

Mm-hmm.

on stage and also in the interview setting.

Yes.

Let's talk about on stage first.

What did you observe that the best performers did to

connect with their audience?

The very first thing that they did was create their content,

write their songs, and create.

What is the emotion that they want the audience to feel?

So we would rehearse.

For days and weeks and months in, in these, uh, um, you know, sound

stages and rehearsal studios.

And they would perform the show like they're playing in front of 10,000 people,

even though there's nobody in there.

Maybe the manager, the agent, somebody from the record label a publicist or

something, but they would go out there on stage and we had training for them.

There's people out there that teach 'em how to hold microphones, how to.

You know, when you're, you're playing your guitar e everything.

I don't wanna take away from band performance, but I will say that a lot

of it is choreographed, especially when you're dealing with bigger productions.

Mm-hmm.

, because sound needs to know what the artist is gonna do.

Lighting needs to know, you know, when this guitar solo,

the guitarist goes stage.

Right.

So the lighting is focused that way.

Right.

So it really gets into.

Long before the audience ever sees a performance, there's a ton of rehearsal.

Mm-hmm.

, and they have to, and this is what we talk about with rockstar, is they really

step into their power and channel.

They're in a rockstar even when there's nobody in the room.

Even when there's nobody there yet.

And it's repetition.

Yeah, and it's learning the songs and it's going over and

it's talking to the audience.

Like, and I tour with some pretty big pop acts and they, in an empty

arena, they have to pretend or imagine that there's 30, 40,000 people

there and perform like they are.

Mm-hmm.

And we would rehearse, you know, mistakes like in the middle of a, a pre-production

rehearsal, the manager goes mute their in.

I had a pop group that was singing in, in vocal harmony, and he

is like, mute their in ears.

Right.

While they're singing and, and they're not, no one's in the

audience and this isn't a show.

Mm-hmm.

, this was a test to see what happens if all of a sudden they're in ears

that you know, the hearing aids.

Mm-hmm.

are things they have in their ears now everyone has in-ears with the AirPods.

Mm-hmm.

. But back then, if the in-ears go out, what are they gonna.

You're on stage in front of 30,000 people and your iners go out, what do you do?

Do you run off stage or do you continue mm-hmm.

. So it's going through that rehearsal part.

And like I said before, the repetition is really how it comes down.

So by the time the audience sees them, they have that swagger, like

Jagger, you know, , they have that.

Gens, aqua the X factor.

They have that and the audience is like, wow, that's amazing.

Well, it didn't just happen, right?

It takes a lot of practice, so I can easily.

Make the transition from what you're saying into what I'm doing cuz I am a

professional speaker, so I'm on the stage.

Yes.

So I practice with no one there.

I ask questions to an audience that doesn't exist.

Yes.

I pause for laughter because I think what I said was just funny, but yes.

What if what you do for a living doesn't include a stage, it

doesn't include an audience.

How can we translate that into maybe, An office environment, a

boardroom, maybe perhaps interviewing.

So, oh, how can we make that transition into the business world?

That's a great question, and Julie, I think it really comes

down to, if you look at every time you perform as a show mm-hmm.

whether you go on social media, you're talking to your audience.

If you're standing in front of a crowd and given a presentation, that's a show.

If you're on a podcast like today mm-hmm.

, that's a.

So if you take that professional approach that every time you present

yourself and your message to your audience, that's a show, then you

can use the same, you know, tools and techniques that the rock stars use.

Because here's the thing, when you're performing, it doesn't really matter

how big your audience is, right?

You just want to connect with that one person.

. So even if you're going on social, like I, I refer to it in Rockstar as one way.

You're on IG Live and you're talking to your followers.

Yeah.

But there's not really interaction coming back.

That's a show.

Mm-hmm.

. Now the thing to remember is just because it's a show doesn't mean you

have to put all this pressure and perfection on, but it's just like a show.

The more you do it, the better you get at it.

And that's what we cover in Rockstar with the set list.

And we can talk more about that.

Yeah.

As well.

Yeah.

That was gonna be my next question, because.

I used to go see a lot of live music.

I don't as much.

Maybe I'm midlife, I don't know, but I just don't go see

as, as much music as I used to.

But you would always wonder what the set list would be.

Yes.

And so I think people might not understand like, Every group, individual,

singer, performer, gets on and knows exactly what they're gonna do.

And we've covered that.

It's repetition.

Mm-hmm.

. Mm-hmm.

. It's a show.

Mm-hmm.

. So what is the importance of a sentence list to a musician or a musical group?

And then how can we create a set list?

And I'm using air quotes here for people who are listening.

Yes.

A set list in our everyday light.

Is it an everyday thing?

Is it a weekly thing?

Like let's dive into.

So the set list for musicians performing are the songs that

they're gonna perform in the order.

Mm-hmm and for everybody on the crew.

That's where you get your cues from.

And sometimes it's a different set list, every show a lot.

It's a lot of times it might be the same, but it's always like decided right before

the show and then everybody on the crew has it because the lighting crew has cue.

So when this song comes up and they, they start that scene, that's when all

the lights go in the audience, and then the guitars, you know, the lead singer,

the stool pops out on stage mm-hmm.

, and there's another mic and an acoustic guitar, and the guitarist

sits down and starts strumming, and the lights are perfect and everything.

Well, that's all planned and that's all part of the set list.

So in the professional world, it's the order of the songs that you're

gonna perform in all the product.

What we're talking about with rockstar and the set list is this is a list of

stories that you have that you can share.

Just like that story I shared with you at the beginning about how

I started out as a radio DJ and the Whitney story and all that.

That's part of the set list.

Okay.

So when someone says, tell me about yourself and what do you do, if you have

this set list, I can show it to you.

I know it's on video here.

Yeah, no.

Of all the different stories.

That you can, and this isn't a script, that's the thing.

We we're not opposed to it, but we don't teach our band members,

our clients how to use a script.

Mm-hmm.

, because we find with a script you have to memorize and then you're

like, did I say the right thing?

Yeah.

So it's a set list of stories like, so why do you do what you do?

Who do you help?

This is what we refer to as the top five.

You know, how are you different than other people?

What is really your story, your transformation, your hero's

journey, you know, so if someone says, how'd you get your start?

Rather than, I mean, the key with this set list is it's not a resume and it's

not LinkedIn , and I think you might see this like, whoa, I started here and I

did this, and I did this and did this.

Take all that, that, that's fine.

Let's craft that into a story.

Mm-hmm.

of, when I was young, I always knew I wanted to be in business.

Yeah.

And I had a lemonade stand or whatever.

It has to be authentic to the person.

It has to be true.

You know, we're not mm-hmm.

making up stories.

Right.

And then when you share that story with people, they connect more.

So it's not the order of like every interview, you're

gonna say the same thing.

It's really just stories.

And what's great about the set list is it's catered

specifically to each show, right?

Every interview you do, you can have different points that you bring out, and

that's what we cover with the set list.

So how does that list of stories, why we do what we do?

Mm-hmm.

, like if I was even thinking back, I was like, well, geez, when I was a little kid,

yeah, I was gregarious and outgoing, but I didn't know that that was gonna translate

into talking to people on stages about not being afraid to talk to other people.

You know?

So there's a little bit of a digging in there, but say it's somebody who's

listening to this podcast, just they work in an office and they have colleagues,

like what does the set list do?

Situation.

When you work in an office environment, we always teach the power of three.

Okay?

So if you're gonna give any examples of who you work with, what you do, how

you're different, only use three examples.

And if you look at amazing public speakers, people like Oprah

or Obama or Brene Brown, they do this seamlessly when they.

You don't have to come out and say, I'm gonna give you

three points, number 1, 2, 3.

Mm-hmm.

, because then the audience kind of loses interest and is like looking for

a pen and well, what was number two?

Right?

But you go out with three points.

So if you are given a presentation in the office that you're getting

in front of the boardroom, you should have three objectives and

focus on those objectives, okay.

Of what, what you want.

Narrow it down to three.

and then with your set list you can focus on, okay.

Are you talking about like, uh, human resources?

If it's something like that, then you wanna share a story.

Maybe you're gonna share a success story of a new hire to make that point

go in that we need to hire more people.

Mm-hmm.

, you know what I mean?

Yep.

Like if, if you're given projections and you're doing.

Boring PowerPoint and you know, the fourth cube four went four, 4.8% up and all that.

If you tie it into a story, I mean, look at Richard Branson.

If you look at anytime Richard Branson talks, he talks in visuals.

Mm-hmm.

and Oprah talks in visuals.

So you can take.

The most boring or mundane information that you have to present.

And if you present it in a nice story mm-hmm.

, and it doesn't have to be like, back in my childhood, this is

how I learned how to make money.

You know, , it can be like, bring your c e o into it.

You know what I mean?

Yeah.

If you're presenting in front of your c e o, bring them into like sharing an

engaging story that they can relate to.

Mm-hmm.

, because here's the thing, Julie, people will never remember word for word what we.

Right.

But they will remember and have a feeling.

Yeah.

Associated with.

Yeah, I was real pissed off when I heard a statistic that 87% of what

professional speakers say is completely forgotten by the audience within like

I know that's a bummer.

I know within like 10 minutes I'm like, huh, damn.

I'll work real hard on this content.

And so then I know when I know there's something that I want them to remember.

I always pause and say, write this.

Right.

Write it down.

Cause you're gonna forget.

You're gonna think, you're gonna remember you're gonna forget

Well, that becomes your sound bites.

Yeah.

Right.

So if someone asks like, well, what do we do?

Will we show authors, coaches, creative entrepreneurs, how to

speak with confidence and clarity?

Create a crystal clear message and connect with their audience.

Yep.

You see how there are three examples in there?

Mm-hmm.

, and it's really like confidence and clarity and connect.

So that's what we talk about, what we work on with the band and in the

band practices where everyone can come in and practice their messaging is.

You've said this a couple of times.

What is the band?

Who are the band?

Because you've mentioned that a couple of times.

The band are clients that sign up for Rockstar media training.

Oh, okay.

We refer to them as band members because really, and all work together.

We all, yeah.

We think of it very much as a collaboration.

Okay.

With our band meetings.

It's not just Sandy and I.

Coaching and they have to sit there and be quiet.

It's like everybody interacts and that's when the real transformation happens

is when, you know, like, uh, in our last band meeting we went, everyone

go around and introduce yourself.

Who are you, what do you do, and who do you help?

. Well, it seems like a very simple exercise, but then by the end of the band

meeting, people are like, you're right.

I am a storyteller.

You're right.

I am.

Mm-hmm.

, I am a truthteller.

You know, I am, I am a, a leader.

I never thought of myself as a coach.

Mm-hmm.

. So it's the, the real, as I always say, the meat and potatoes, the real substance

of it comes in when you have all these band members together and they're

collaborating and helping each other out.

Yeah.

I think.

Organization, any group where you're trying to crystallize an idea or come

up with your why you do what you do and who you are and who you do it for.

Mm-hmm.

, it's always helpful to do that in a group setting.

Yes.

Because the, the group is always, it's always bigger than the sum of its parts.

Yes.

So it's, it's great that, that you offer that sort of environment.

Give me an example of under covering your rockstar.

Move.

Under.

Covering my rockstar move or discovering, let's say discovering, maybe under,

covering was the wrong word, let's say discovering your rock star.

I believe everybody has an XFactor to them.

Everybody has a unique story, and when we talk about rockstar,

it's really more of a feeling.

It's a feeling of confidence that, okay, you're doing the right

thing and, and you have a purpose.

And, and this is what I do, present tense.

It's not if you hire me, if you decide to work with me, it's when we work together.

Mm-hmm.

, we will do this together.

I've got you.

We, we will do this together.

That confidence is that rockstar feeling, like you were saying

about moves like Jagger, you know?

Yeah.

And, and Mick Jagger.

I mean, what is it about Mick Jagger?

You know, what is it about Keith Richards?

What is it about Prince may rest in peace?

Right.

You know, there was a level of confidence.

Now offstage, they may be different people.

Yes.

And that's what I.

I saw firsthand, I won't mention names, but a lot of the, your favorite

performers on stage are really quiet and shy and introverted and even mm-hmm.

, like socially anxious.

Offstage.

Offstage.

Yeah.

But when they step on stage, they flip a switch.

Mm-hmm.

, and they become that person.

So that's what we mean by really channeling.

You're in a rockstar.

So even if you're presenting in a boardroom and you, your job is

to present this PowerPoint, but you make it fun and engaging and.

Wow that I didn't understand all that tech stuff, but the way you explained it to me.

Yeah.

Now I get it.

Yeah.

When you walk out of the room and you're like, yes, I nailed it.

Mm-hmm.

, that's swagger, that's rockstar.

And that comes and you said it at the top of the interview and I just

wanna repeat it because that mm-hmm.

comes with repetition.

Yes.

And I think people have to understand, and you mentioned it, like the training,

getting to know everything you're doing.

In the repetition comes confidence.

Yes.

In the repetition is discovering how you're most comfortable delivering

something or doing something.

Yes.

I mentioned, I gave a keynote the other day and somebody asked me about being on

stage all the time, and I said it asked if I was always as good as I was and

I was like, well, thank you very much,

No, I sucked when I began and I know I sucked cuz I videotaped myself.

. But doing it over and over and over again, I realized what I

was really comfortable doing.

I re, I discovered my own voice the way I wanted to present.

Yes.

And disseminate information.

And the more comfortable I got with it, like the more I got into like not

the character of Julie, because I'm not a character of myself up there.

I am myself.

But you have to almost be yourself and then some when you're off on stage.

Yes.

You're sort of.

You're plus size of yourself, , you're the performer, you're Julie, the

performer, and that's what I mean.

You're still your authentic self.

But yeah, when we, when you walk on stage, and that could be even just

going on an interview, you do flip that switch of okay, you know, but you really

want your personality to come through.

You really want that authenticity to come through, because that's

what the audience remembers, right?

That's what they walk away with, that feeling like, wow, that was.

So we've talked a lot about performing.

Mm-hmm.

. Now talk a little bit cuz you mentioned it and I wanna segue into it.

There was the persona that these rock stars, these musicians had on

stage and that was very different.

Mm-hmm.

from who they are.

Offstage.

And we've heard that before, that you would be surprised how many of

these large names are introverted.

So how did they transition and also get energy to do

interviews, one-on-one interviews?

Like how did they, cuz it's, it's a very different energy.

So there are times in our careers where we are, we have to have that rockstar

energy, the plus size of ourself.

Mm-hmm.

. But then there's times when we have to dial it back and it's one-on-one.

Like how did you see them make that transition?

Mindset, . I'm like, okay, yes, we're in this small town on this TV

station and I know the show isn't until, you know, nine o'clock tonight

or 10 o'clock tonight or something.

But these people like, you're there to do it.

It's professionalism.

Julie, it's, you're there to do a job.

It really is.

And I've, I've seen so many performers that just were not really able to perform.

You know, they had medical things going on, they had

family things, personal things.

But you have to turn that switch on and when you're mm-hmm.

Going on a podcast, you're going on TV or radio or anything, you know, and act

like you said, it comes with repetition.

and I worked with a lot of artists that I, I told 'em this.

I said, look, you are always gonna be talking to somebody for the first time.

Yeah.

Yep.

So you've been asked the same question by all these journalists,

how'd you get the name of your band?

How'd you get the name of that song?

Right.

What was it like when you wrote that song?

But there's always gonna be somebody out there listening.

And hearing it for the first time.

Right.

Who hasn't heard that story?

Hasn't heard that story.

And it's not about repetition, like you have to say the same phrase every

time or you have to, you know, and it was tough doing TV cuz we're like,

you know, 6:00 AM 5:00 AM call times.

Yep.

And the band has to perform and they have to perform at that same energy

of, you know, 5,000, 10,000 people.

And.

TV is live.

TV is tough cuz they're like, okay, 3, 2, 1, and you're on.

Yeah.

Ladies and gentlemen, here's the band and you've gotta perform.

Go from zero to 100 stage time in a matter of seconds and perform

to an audience that isn't there.

Right.

That takes rehearsal.

Mm-hmm.

. So we would practice tv, we would practice, I remember us having chairs

set up around the, the sound stage.

And I'm like, okay, this is camera one, this is camera two, this is camera three.

And you've gotta run around and you've, you know, and you got this

much space and put tape on the floor.

Like these TV studios aren't big.

Yeah.

They're very small.

So you've gotta condense that down, but yet have that energy that you're

playing in front of 10,000 people.

It does take a lot of training and that's why Sandy d and I, the Queen of

Podcast Zen and I created rockstar is we feel that there's a need out there.

Yeah.

I think a lot of coaches and authors that are out promoting their book

and their business are like, yeah, I wanna do that, but how do I do that?

And that's why we created Rockstar.

Yeah.

Yeah.

So that's gonna transition into, you know, sort of wrapping up our conversation.

Tell us what is Rockstar.

When people come to you, what is the main thing they're main objective

they're trying to accomplish?

Um, and how do you work with people?

We usually have like two different, everybody's individual, but we usually

have like two different types of people.

We either have like coaches or authors that are terrified of public

speaking and they're coming in like I'm just terrified to public speak.

So we take a different.

With them.

Then there's other ones that come in.

Like, I have no problem being on camera.

I have no problem speaking in front of people.

I just don't know what to say.

Mm-hmm.

, I don't know how to grab their attention.

I don't know how to not go on and on and on and on.

I don't know how to speak in sound bites.

Soundbites.

Mm-hmm.

. And that's what that you take your soundbites and then you

put 'em on the set list and Yes.

Yeah.

So when people sign up and become part of the band and part of the

Rockstar Media Training program over at All Things Relaxed studios.com,

then they're part of the band.

And once you're part of the band, you're just like, what

Those band members were like.

We're very supportive of our band members.

Mm-hmm.

And we have a private Facebook group where they can post up messages and

post up videos and try things out.

And then we've got the band practice, which is live on, on Zoom.

There is a replay if people can't make it, but it's really about that collaboration.

And going, okay guys, we're gonna talk about our why.

Mm-hmm.

, why do you do what you do?

And really get, that's where the real coaching I think comes in.

And plus we've got all the training videos and the workbook and

one-on-ones and all that stuff.

But the transformation really comes in when they're around other band members

that are just as supportive as Sandy and I, and that's what, that's what

the band is, and they can find you.

Repeat that website again.

All things relax studios.com.

Okay.

And I can put that in the show notes.

Yep.

So before we leave, tell us what was your favorite either

concert or tour to beat to work?

Outta the 25 years, I will say, out of all the artists I worked with, this

one, hands down is the most famous, and I, I'll keep it brief, but I've

got a story of how she contacted me.

Okay?

And that would be Aretha Franklin, the Queen of Soul.

Yay.

May she rest in peace.

She actually contacted me on my phone and left a voicemail message.

And for anybody in the music business, you understand that it's usually a

manager, an agent publicist, record label, somebody's contacting you.

And she called me and she hired me, you know, left a message and said,

call me back and if, if I want to call you back, I'll call you back.

And if I don't, I won't.

So I left a voicemail, she called right back.

It was like, you know, Unknown number, and I'm like, Ms.

Franklin?

Yes, yes.

She's like, I'd like to hire you to mix my show.

And it was just one show, but it's really a highlight of my career because

the irony is, is that the very first concert I went into was Whitney Houston.

Right.

And although I never got to work with her, I worked with a lot of her

band members in different tours, but I never worked with her directly.

But to work with her hero.

And this was right before Aretha passed away.

Uhhuh . This was a couple years before.

So that's definitely the highlight of, I would say, you know, I've been on all

the arena tours and done all the rock and pop acts and stuff, and they're great.

But I mean, working for the Queen of Soul and talk about a voice.

Hmm.

Jen Hudson's another one, and I would say has that.

X factor, but uh Right.

Yeah.

But you said everybody has the X factor.

You just have to find out what your X factor is.

That's the thing is that I think the X factor is, you can't go

out and say this is the X factor.

It's just by you being your authentic self.

Mm-hmm.

, other people are gonna say there's something that really connects.

Yeah.

There's something I really, I like what you said about that.

I feel like that makes sense.

Mm-hmm.

, and that's the x.

Gee, thank you so much for being with us today.

Thank you, Julie.

I wish we could go on because I'm sure you have way more stories, , but this

was lovely and I'm so glad you came on.

Thank you.

You're welcome.

When you see a performer at the top of their game, fuck, just killing

it from the stage, rocking the house looking effortless in their.

It can be easy to forget the hours, weeks, and even years of practice

that went into that performance.

For example, in 2018, Beyonce was the first black woman to headline Coachella.

Her two hour performance included up to 200 artists and plus up force

Beyonce and her teen rehearsed for eight months before that perform.

Some days stretching past 11 hours, she rehearsed eight months

for a two hour performance.

This is what rock stars do.

They practice.

Those eight months of rehearsals were conducted in front of an empty arena.

No audience screaming her name, no one's singing along

to lyrics, just doing the work.

It's what we do in the preparation time.

In the rehearsal, in the repetitive practice that allows us to shine in front

of the audience, no matter how big or small that audience is, wanna channel

your inner rockstar practice being him or her over and over and over again until

you know that you embody that swagger.

I believe you can do it with practice.

Onto the drink of the weekend, man.

Did I get some fun results when I Googled rockstar cocktail?

Lovely little ideas like rockstar recipe, flipped by a rockstar.

That one included energy drinks, so as much as I would have loved

to have made it cocktail week, the caffeine was a no-go for me.

There was sweet and sour, rockstar, kinky rock stars, lots of different rock stars.

I went with the regular rockstar recipe and if this doesn't give you

some swagger or at least a little liquid courage, I don't know what will.

Here's what you're gonna need.

One part cinnamon schnapps, one part slow gin, one part triple snack.

One part Jagermeister One part 1 51.

Proof rump.

Yep.

That's a lot.

You're gonna build it in a shot glass with no ice.

Putting rum in last.

You're gonna play that rum on fucking fire with a match or a lighter, let it

burn, and then extinguish the flame by placing an empty shot over the fire.

Before you drink this, make sure all the fire is out so you

don't burn your fucking face.

Okay?

All right folks.

That's it for this week.

You are looking for more Julie Brown.

You can follow me on LinkedIn at Julie Brown BD or on Instagram

at Julie Brown underscore bd.

And if you wanna sign up for my weekly newsletter, which is so much fucking

fun, if I just say so myself, head on over to Julie Brown bd and scroll

to the bottom of the page, sign up.

As always, thank you for being here until next.

Cheers.

Hey, thanks for taking the time to listen.

Be sure to subscribe to the podcast so you never miss a tip.

And remember, you can unapologetically be who you authentically are

and still be wildly successful.

That's a fact.