Rubin didn't start Def Jam with a grand business plan. As a DJ, he simply noticed a gap: the hip-hop records being sold were different from the raw tracks that electrified club audiences. He started making records for himself as a fan, creating what he wanted to exist.
Rubin sees his producer role as being a temporary member of the band. Unlike musicians focused on their own parts, he is singularly focused on the quality of the whole, free from personal agendas about a specific instrument or part, making him the ultimate objective arbiter.
Michael Dubin didn't conduct market research; he found his business opportunity in his personal annoyance with the high cost and inconvenient process of buying razors from a locked case. This shows that powerful business ideas often hide in plain sight as everyday frustrations.
Both Rubin and Jobs shared the ability to see a finished product in their minds before it was built. They believed these products always existed, and their job was simply to discover them and then work backward to bring them into reality.
Drawing an analogy to legendary music producer Rick Rubin, an investor's role is to help a founder find the most authentic and compelling version of their own story. The goal is not to invent a narrative, but to draw out the founder's core truth and channel it through their company.
Rubin avoids chasing the "newest sounds" because they quickly become dated when the next trend emerges. Instead, he focuses on foundational elements, like a grand piano, that sounded great 50 years ago and will sound great 50 years from now, ensuring his work has a timeless quality.
Counterintuitively, Rubin's minimalist "less is more" philosophy requires creating a huge volume of work first. To get 10 great songs, an artist might need to write 100. The simplicity comes from the ruthless editing of a large pool of options, not from creating sparingly.
When curating from a large body of work, Rubin avoids simply picking the "top 10." Instead, he asks, "What are the 5 I absolutely cannot live without?" This reframes the selection process around indispensable essentials, ensuring a stronger core before adding anything else.
To promote the Beastie Boys, Rubin adopted the persona of an over-the-top "bad guy" wrestler. This "performance art as a way of marketing" was deliberately provocative to capture attention, showing how unconventional, character-driven promotion can be effective, even if others don't get it.
Koenigsegg's company wasn't a calculated business decision but a deep-seated "compulsion" he had to get out of his system. This intrinsic drive, where passion chooses the founder, is the fuel for enduring decades of hardship. It's a non-replicable asset that becomes the soul of the brand and its products.
Instead of chasing legends at their peak, Rick Rubin seeks out great artists who are not currently making great work. This strategy, applied to Johnny Cash and Neil Diamond, allows him to collaborate with world-class talent at a point where they are undervalued and open to reinvention.