Ep162: Why Creating Value First Changes Everything

In this episode of Welcome to Cloudlandia, we explore how Miles Copeland, manager of The Police, turned Sting's unmarketable song "Desert Rose" into a 28-million-dollar advertising campaign without spending a dime. The story reveals a powerful principle most businesses miss—the difference between approaching companies at the purchasing department versus the receiving dock.

Dan introduces his concept that successful entrepreneurs make two fundamental decisions: they're responsible for their own financial security, and they create value before expecting opportunity. This "receiving dock" mentality—showing up with completed value rather than asking for money upfront—changes everything about how business gets done.

We also explore how AI is accelerating adaptation to change, using tariff policies as an unexpected example of how quickly markets and entire provinces can adjust when forced to. We discuss the future of pharmaceutical TV advertising, why Canada's interprovincial trade barriers fell in 60 days, and touch on everything from the benefits of mandatory service to Gavin Newsom's 2028 positioning. Throughout, Charlotte (my AI assistant) makes guest appearances, instantly answering our curiosities.

SHOW HIGHLIGHTS

Links:
WelcomeToCloudlandia.com
StrategicCoach.com
DeanJackson.com
ListingAgentLifestyle.com

TRANSCRIPT

(AI transcript provided as supporting material and may contain errors)

Dean Jackson:
Mr. Sullivan,
Dan Sullivan:
Good morning. Good morning.
Dean Jackson:
Good morning. Good morning. Our best to you this morning. Boy, you haven't heard that in a long time, have you?
Dan Sullivan:
Yeah. What was that?
Dean Jackson:
KE double LO Double G, Kellogg's. Best to you.
Dan Sullivan:
There you go.
Dean Jackson:
Yes,
Dan Sullivan:
There you go.
Dean Jackson:
I thought you might enjoy that as
Dan Sullivan:
An admin, the advertise. I bet everybody who created that is dead.
Dean Jackson:
I think you're probably right.
Dan Sullivan:
Yeah. I was just noticing that. Jaguar, did you follow the Jaguar brand change?
Dean Jackson:
No. What happened just recently?
Dan Sullivan:
Yeah. Basically maybe 24. They decided to completely rebrand. Since the rebranding, they've sold almost no cars and they fired their marketing. That's problem. Problem. Yeah. You can look it up on YouTube. There's about 25 P mode autopsies.
Dean Jackson:
Wow.
Dan Sullivan:
Where
Dean Jackson:
People are talking mean must. It's true. Because they haven't, there's nothing. It's pretty amazing, actually, when you think about it. The only thing, the evidence that you have that Jaguar even exists is when you see the Waymo taxis in Phoenix.
Dan Sullivan:
Is that Jaguar?
Dean Jackson:
They're Jaguars. Yeah.
Dan Sullivan:
I didn't know that. Yeah. Well, yeah, they just decided that they needed an upgrade. They needed to bring it into the 21st century. Couldn't have any of that traditional British, that traditional British snobby sort of thing. So yeah, when they first, they brought out this, I can't even say it was a commercial, because it wasn't clear that they were selling anything, but they had all these androgynous figures. You couldn't quite tell what their gender was. And they're dressed up in sort of electric colors, electric greens and reds, and not entirely clear what they were doing. Not entirely clear what they were trying to create, not were they selling something, didn't really know this. But not only are they, and then they brought out a new electric car, an ev. This was all for the sake of reading out their, and people said, nothing new here. Nothing new here. Not particularly interesting. Has none of the no relationship to the classic Jaguar look and everything. And as a result of that, not only are they not selling the new EV car, they're not selling any of their other models either.
Dean Jackson:
I can't even remember the last time you saw it. Betsy Vaughn, who runs our 90 minute book team, she has one of those Jaguar SUV things like the Waymo one. She is the last one I've seen in the wild. But my memory of Jaguar has always, in the nineties and the early two thousands, Jaguar was always distinct. You could always tell something was a Jaguar and you could never tell what year it was. I mean, it was always unique and you could tell it wasn't the latest model because they look kind of distinctly timeless.
And that was something that was really, and even the color palettes of them were different. I think about that green that they had. And interesting story about Jaguar, because I listened to a podcast called How I Built This, and they had one of my, I would say this is one of my top five podcasts ever that I've listened to is an interview with Miles Copeland, who was the manager of the police, the band. And in the seventies when the police were just getting started, miles, who was the brother of Stuart Copeland, the drummer for the police. He was their manager, and he was new to managing. He was new to the business. He only got in it because his brother was in the band, and they needed a manager. So he took over. But he was very, very smart about the things that he did. He mentioned that he realized on reflection that the number one job of a manager is to make sure that people know your band exists. And then he thought, well, that's true. But there are people, it's more important that the 400 event bookers in the UK know that my band exists. And he started a magazine that only was distributed to the 400 Bookers. It looked like a regular magazine, but he only distributed it to 400 people.
And it was like the big, that awareness for them. But I'll tell you that story, just to tell you that in the early two thousands when Sting was a solo artist, and he had launched a new album, and the first song on the album was a song called Desert Rose, which started out with a Arabic. It was collaboration with an Arabic singer. So the song starts out with this Arabic voice singing Arabic, an Arabic cry sort of thing. And this was right in the fall of 2001. And
Speaker 1:
Yeah, that's a good,
Dean Jackson:
They could not get any airplay on radio airplay. You couldn't get American airplay of a song that starts out with an Arabic wailing Arabic language. And so they shot a video for this song with Chebe was the guy, the Che Mumbai, I guess is the singer. So they shot a video and they were just driving through the desert between Palm Springs and Las Vegas, and they used the brand new Jaguar that had just been released, and it was really like a stunning car. It was a beautiful car that was, I think, peak Jaguar. And when Miles saw the video, he said, that's a beautiful car. And they saw the whole video. He thought you guys just made a car commercial. And he went to Jaguar and said, Hey, we just shot this video, and it's a beautiful, highlights your car, and if you want to use it in advertising, I'll give you the video.
If you can make the ad look like it's an ad for Sting's new album. I can't get airplay on it now. So Jaguar looked at it. He went to the ad agency that was running Jaguar, and they loved it, loved the idea, and they came back to Miles and said, we'd love it. Here's what we edited. Here's what we did. And it looks like a music video. But kids, when was basically kids dream of being rock stars, and what do rock stars dream of? And they dream of Jaguars, right? And it was this, all the while playing this song, which looked like a music video with the thing in the corner saying from the new album, A Brand New Day by Sting. And so it looked like a music video for Sting, and they showed him an ad schedule that they were going to purchase 28 million of advertising with this. They were going to back it with a 28 million ad spend. And so he got 28 million of advertising for Stings album for free by giving them the video. And I thought, man, that is so, it was brilliant. Lucky, lucky. It was a VCR. Yeah. Lucky,
Dan Sullivan:
Lucky, lucky.
Dean Jackson:
It was a VCR collaboration. Perfectly executed.
Dan Sullivan:
Yeah. Yeah. It just shows that looking backwards capability, what I can say something that was just lucky