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The “People Power” Music & Dance Superbook (singin’, groovin’ and shakin’ for fun and profit) by The Rock-On, Old-School New-Funk Club
2 Save Trees. Read Ebooks. You can copy up to 200 pages from this book and republish it in any publication or website anywhere as long as you state you got the material from Tony Kel at tonykel.com. You can do this in as many different publications as you want. Copyright Tony Kel, tonykel.com.
3 Table of Contents Music Introduction Navigate Pages in PDF Format
Volume 1. The Music Biz
Chapter 1. The Music Biz Basics The Music Biz Intro Be A Working Musician/ Pop Star 1-16 Chapter 2. The Music Biz Topics The Legal Aspects of the Music Biz Promo Kit Press Kit Websites Electronic Press Kit/ E-Press Kit/ EPK Music Video Festivals Performance Anxiety, Stage Fright Get Gigs/ Find Gigs Setting up Your Own Gig Music Insurance for Music Professionals
4 Chapter 3. Independent Musician/ Do it Yourself Selling Music Online 1-2 Marketing Music 1-2 Merchant Credit Card Status Pro Sound Concert Companies Concert Lighting Company Websites Chapter 4. Get on the Big Music Download Seller Websites Virtual Record Label: Put Your Music Online Online Record Label Websites Music Showcase Websites Musician Biz Websites Musican Knowledge/ Musician Advice/ Musicians Sharing/ Musicians Socializing Musician Social Networks/ Musicans Collaborate to Create Music Online Chapter 5. Music Career & Jobs
5 Music Jobs Info Music Job in the Military Music Career Websites Music Job Websites Offshoot Jobs In Music British Musician Women’s Music Websites/ Women in Music Websites Chapter 6. Songwriting Career Basics Songwriter Career Info Songwriter Websites/ Songwriting Websites Learn to Sing Websites/ Singing Websites Song Databases/ Song Websites Chapter 7. Creating Music Basics Music Composition/ Music Composer Career Music Composer Websites Movie Score Composer/ Film Score Composer
6 Chapter 8. Music Technology/ Mixing Music Create an MP3 CD to Sell Through Rhapsody, Itunes, etc. Digital Music Technology Music Technology/ Mixing Music Websites Create Music Websites Record Audio Software Websites Make Music on Your Computer Professional Audio Recording Services Recording Studio Websites Acoustics Websites/ Sound Websites Acoustical Training Schools Acoustics Jobs/ Acoustics Career Music Engineer/ Acoustical Engineer/ Audio Engineer Career/ Recording Engineer/ Sound Engineer Career Music Producer Info Websites Some Music Producers & Their Studios Chapter 9. Opera Career
7 Opera Resources/ Opera Websites Canadian Opera Career Chapter 10. Other Specific Music Jobs Acoustics Career Classical Music Career Music Conductor Career Country Music Career Disc Jockey Career Las Vegas, Entertainment Cities Military Music Career Music Instruction Business Musical Instrument Repair and Tuning Music Journalist/ Music Media Music Promoter Career Music Teacher Websites/ Music Tutor Canadian Music Teacher Music Therapy Career Music Manager Career/ Booking Agent Piano Technician Career Tour Manager in the Music Biz Chapter 11. Music Biz Resources
8 Major Music Biz Resources Lists of Music Organizations Specific Music Organization Websites Music Marketing Websites/ Music Promotion Websites Music Biz Websites/ Music Industry Websites Music Unions for Musicians Music Crowdfunding Websites Chapter 12. The Canadian Music Industry Canadian Music Biz Classical Music Canada Chapter 13. Entertainment Law Basics Adult Entertainment Law Info Entertainment Law Info The Dispute Over Free Downloads Music Law Websites Music Contracts Info Music Licensing to Perform, Record or Otherwise Use Copyrighted Music/
9 Music Licensing Websites Chapter 14. Getting a Website Designed Music Website Design Websites For Musicians Website Designer Lists Website Design Companies British Website Design Website Set-Up Websites Chapter 15. Music Trade Shows/ Music Biz Events Music Conferences/ Music Conventions Music Trade Shows Info Trade Show Websites Trade Show Resources
Volume 2. Music Entertainment
Chapter 1. Why I Trash the Music Video Culture
10 My Critique of the Mainstream Music Industry 1-2 Hip-Hop: Image Over Substance Music Critic Websites Chapter 2. General Music Resources Music One-Liners & Music Quotes meetup.com Music & Dance General Music Resources Music Resource Websites/ Find Music Knowledge Major Music Websites Music Websites Master List Music Awards Websites Music Contests/ Music Competition Music Directory Websites Music Encyclopedias Music Museums Info Music Newsgroups Music Review Websites Music Search Engines Music Social Network Websites Music TV Websites
11 Disc Jockey Websites/ DJ Websites Misheard Lyrics/ Got the Lyrics Wrong Lyric Websites/ Lyrics Websites New Music Websites Record Covers Info Ringtone Websites Chapter 3. Dance & Music Vacations Music Vacations Info Country Music Vacations Dance Vacation Info Rock Camp/ Music Camp/ Band Camp Chapter 4. Musicians, Bands, Record Labels Major Musician Websites/ Lists of Musicians, Bands, etc. Search for Musician Websites/ Artist Websites Master List Music Biographies Famous Singer Websites Chapter 5. Pop Culture Entertainment
12 Basics Pop Culture Websites General Entertainment Magazines Celebrity Information Chapter 6. Nightlife World Major Nightclub List Websites Nightclub Websites Local Music Acts at Nightclubs Party Tours/ Nightclub Tours Chapter 7. United States Music by State United States Music Websites Alabama Music Websites Alaska Music Scene Arizona Music Scene Arkansas Music Scene California Music Scene Colorado Music Scene Connecticut Music Scene Delaware Music Scene District of Columbia Music Scene Florida Music Scene
13 Georgia Music Scene Hawaii Music Scene Idaho Music Scene Illinois Music Scene Indiana Music Scene Iowa Music Scene Kansas Music Scene Kentucky Music Scene Louisiana Music Scene Maine Music Scene Maryland Music Scene Massachusetts Music Scene Michigan Music Scene Minnesota Music Scene Mississippi Music Scene Missouri Music Scene Montana Music Scene Nebraska Music Scene Nevada Music Scene New Hampshire Music Scene New Jersey Music Scene New Mexico Music Scene New York Music Scene
14 North Carolina Music Scene North Dakota Music Scene Ohio Music Scene Oklahoma Music Scene Oregon Music Scene Pennsylvania Music Scene Rhode Island Music Scene South Carolina Music Scene South Dakota Music Scene Tennessee Music Scene Texas Music Scene Utah Music Scene Vermont Music Scene Virginia Music Scene Washington Music Scene West Virginia Music Scene Wisconsin Music Scene Wyoming Music Scene Puerto Rico Music Scene
Volume 3. Recording Digital/ Internet Music
Chapter 1. Getting Music on the Internet Free & Fee Internet Music The Dispute Over Free Music Downloads Easy Way to Record Free Music/ Stream it on Youtube MP3ify.com/ Convert Youtube Recordings to MP3 Play a Bunch of MP3 Files Continuously Chapter 2. Free & Fee Internet Music Download MP3s From Search Engines Music Social Networks/ Music Sharing Communities Free Music Websites/ Free Internet Music Websites Mostly Free Internet Music Websites/ Mostly Free MP3 Websites Canadian MP3 Download Stores Mac Music/ Apple Music MP3 Download Stores/ Music For Sale
16 MP3 Websites Music Podcast Websites File Sharing/ Download Music, Movies, Documents, etc. Creative Commons Music Info Public Domain Music Websites Royalty-Free Music Websites Free Software/ Freeware/ Shareware Chapter 3. Internet Music/ Video MP3/ Internet Music Information MP3/ Internet Music Newsgroups Internet Concerts/ Live & Download Chapter 4. Internet Music/ Video 2 Music Editor/ Audio Mixing/ Music Creator Websites Audio Websites/ Sound Effects/ Nature Sounds Create Your Own Music CD Ripping Software DVD Ripping Software Gspot Software
17 Media Players for Movies, Music & Podcasts Real Audio; Video Streaming Chapter 5. Recording Sound & Music Albums & Tapes to Digital Record Streaming Audio Software Websites Internet Radio Recorder/ Internet Ripping Software Converts Streaming Audio to MP3 Chapter 6. Music Players Basics Music Player Websites Music Recorder/ Audio Recorder Free Music Creation Software Chapter 7. Finding Songs I Forgot How to Find Favorite Songs You Forgot Find Music Websites Use Playlists to Find Names of Artists & Songs You’ve Forgotten Related Artists Software
18 How to Identify an Unknown Song by Partial Lyrics/ Lyric Search Engines/ Identify a Song From a Line of the Lyrics Identify a Song by Playing it for a Computer Program/ Music Identification Software
Volume 4. Music For Sale
Chapter 1. Music Products For Sale Music Stores/ Music For Sale Websites Cd/ Dvd Duplicating Cd Jukeboxes For Sale Karaoke Equipment For Sale Music Art Websites Music Clip Art Music Clothing Websites Music Gadget Websites Tech Gadgets/ Tech Products Music Game Websites
19 Music Posters For Sale Record Collectors Info Record Players, Phonograph Used Music Chapter 1. Consumer Electronics For Sale Electronics Review Websites Electronic Component Users Manual Guides Electronic Components For Sale Batteries For Sale CD Players For Sale MP3 Players For Sale/ Ipods For Sale MP3 Stereos For Sale Remote Controls For Sale Speakers For Sale Electronic Components For Sale Battery Products Cd/ Dvd Players Speakers/ Acoustics Chapter 3. Tickets to Events
20 Live Concert Ticket Websites Concert Listings/ Live Concerts/ Concert Websites Cheap Entertainment Tickets Tickets to Events Home Concerts/ Concerts at Home/ House Concerts Chapter 4. Music Biz Equipment Music Equipment For Sale Amplifier Music Equipment Stage Lighting For Sale Chapter 5. All Kinds of Music Software Music Software Websites Music Production Software Musical Instrument Digital Interface (MIDI) Save Your Music Online Scorewriter Notation Software Audio File Converter
21 Volume 5. Basic Music Topics
Chapter 1. Radio/ Audio The Different Radio Station Formats Radio & TV Resources General Radio Websites Radio Station Websites Radio Networks Info World Radio Websites Satellite Radio For a Fee Chapter 2. Internet Radio Info Internet Media: TV & Radio Major Internet Radio Websites Internet Radio Websites Internet Music Radio Websites Popular Online Radio Stations College Radio Websites Create Your Own Radio Station Chapter 3. Miscellaneous Music Stuff Create a Music Theme/ Listen to a
22 Certain Mood of Music/ Music Moods Entertainment Furniture Fan Club Websites Music & Travel Chapter 4. Find Blogs Music Blog Websites Blog Search Engines Blog Websites/ Blogging Websites Canadian Blog Websites Chapter 5. Music Topics Basics Music Activism Music Dictionary/ Music Glossary Music Festival Websites Specific Music Festivals Music Humor/ Music Jokes Music Insurance Websites Music Magazine Websites/ Music Journal Websites Music News Websites Music Science Music Stories/ Music Fiction
23 One Hit Wonders Rave/ Party Scene Record Companies/ Record Labels Specific Record Labels Stock Music Websites Hire a Musician/ Musicians for Hire Create a Music Website Create/ Record Your Own Music Chapter 6. Music Videos Music Video Websites, Mostly Free Music Video Production/ Create a Music Video Chapter 7. Music Picture & Posters Music Photos/ Music Pictures Art Prints, Posters & Products For Sale Stock Photos For Free or Sale Chapter 8. Music History Basics American Music Info American Music History Music History Websites
Volume 6. Music For Fun & Business
Chapter 1. Video Making Basics Camcorders/ Film Production Cd/ Dvd Duplicating Digital Cameras/ Video Animation Software/ Computer Art Video Compression Video/ Movies Online Real Audio; Video Streaming Webcasting: Broadcasting Video on the Internet Chapter 2. Learn Music Basics Learn Music on Your Own/ Informal Music Education Teach Yourself Music Websites/ Learn Music Websites Learn Music Knowledge Websites Compose Music Info/ Write Music/
25 Create Music Learn Music by Ear/ Ear Training/ Learn Pitch Music Lesson Websites, For Sale & Free Sheet Music Websites/ Print Music/ Music Books Music Articles General Article Websites Music Chat/ Music Forums Music Community Websites Chapter 3. Music Education Basics Formal Music Education Websites/ Music at School Websites Music Library Websites Music School Websites Unaccredited Music Schools/ Online Music Courses Audio Production Schools Performing Arts Schools Music Major at College The Music Scene at College Websites
26 Chapter 4. Classified Ad Websites Music Ads Websites/ Music Ad Websites Major Classified Ads Websites Classified Ads Websites British Classified Ads Canadian Classified Ads Chapter 5. Where’s the Party? List of Festivals & Fun Events Festival & Fun Events List Websites Specific Festivals & Fun Events Websites Chapter 6. Health & Music Medical Clinics for Musicians Health for Musicians/ Musician Health/ Musician Injuries Chapter 7. Young People’s Music Info Children's Music Websites Grade School Music Websites Software/ Video/ Music/ TV Ratings
Volume 7. The World of Musical Instruments
Chapter 1. Musical Instruments Basics Musical Instrument Newsgroups Musical Instrument Websites Musical Instrument and Equipment Manufacturers Musical Instruments For Sale Musical Instrument Maker Websites Musical Instrument Repair Services Chapter 2. Specific Musical Instruments Info Offbeat Musical Instruments/ Obscure Musical Instruments Accordion/ Accordion Player African Musical Instruments Asian Musical Instruments Automatic Musical Instruments
28 Bagpipes/ Bagpiper Bell Ringing Info Celesta Music Info Didgeridoo Player Dulcimer Music/ Owl Mountain Music/ Southwest Mountain Music Harmonica/ Harmonica Player/ Blues Harp Theremin Electric Musical Instrument Chapter 3. The Guitar Family Guitar/ Guitarist Balalaika/ Balalaika Player Banjo/ Banjo Player Bass Guitar/ Bass Guitar Player Acoustic Guitar/ Acoustic Guitar Player Electric Guitar/ Electric Guitar Player Harp Guitar/ Harp Guitar Player Lute/ Lute Player Mandolin/ Mandolin Player Ukulele/ Ukulele Player Chapter 4. The Brass Instruments
29 Brass Instrument Websites French Horn/ French Horn Player Sousaphone/ Sousaphone Player Trombone/ Trombone Player Trumpet/ Trumpet Player Tuba/ Tuba Player Chapter 5. The Woodwind Instruments Woodwind Instrument Websites Bassoon/ Bassoon Player Clarinet/ Clarinet Player Oboe/ Oboe Player Flute/ Flute Player Piccolo/ Piccolo Player Recorder/ Recorder Player Saxophone/ Saxophone Player Chapter 6. The String Instruments Cello (Violoncello)/ Cellist Fiddle/ Fiddle Player Harp/ Harp Player Lyre/ Lyre Player Violin/ Violinist
30 Chapter 7. Percussion/ Hitting Things Drums/ Drum Player Marimba Info/ Marimba Music Percussion/ Percussionist Xylophone/ Xylophone Player Chapter 8. Keyboard Instruments Keyboards/ Keyboard Player Organ/ Organist Piano/ Piano Player/ Pianist Harpischord/ Harpischord Player Synthesizer/ Electronic Music Maker Player Piano Websites
Volume 8. The Many Types of Music
Chapter 1. Types of Music Music Styles/ Music Genres Activist Music Websites Art Music Websites
31 Black Music/ African-American Music Cajun Music/ Zydeco Music Websites Gay Music/ Queer Music Gay Pop Culture Goth Music Websites Industrial Music Websites Instrumental Music Websites Karaoke Websites Musical Theater Websites/ Musicals Websites Renaissance Music Websites Senior Citizens Music Chapter 2. Blues Music Websites Blues Websites Acoustic Blues Music Websites Chicago Blues Websites Contemporary Blues Music Websites Country Blues Music Websites Delta Blues Music Websites Electric Blues Music Websites Chapter 3. Classical Music Basics
32 Websites Classical Music Websites/ Classic Music Websites Orchestra Websites/ Symphony Websites Music Conductor Websites Chapter 4. Types of Classical Music Websites Baroque Music Websites Chamber Music Websites Choral Music/ Choir Music Websites Classical Period Music Websites Early Classical Music Websites Impressionist Music Websites Medieval Music Websites Modern Music Websites/ Modern Classical Music Websites Piano Music Websites Romantic Period Music Websites Symphony Music Websites Chapter 5. Opera Basics
33 Opera Websites Canadian Opera Websites Chapter 6. Country Music Basics Websites Country Music Websites Alternative Country/ Alt-Country Music Americana Music Websites/ American Roots Music Websites Bluegrass Music Websites Classic Country Music Websites Contemporary Bluegrass Music Websites Contemporary Country Music Websites Honky Tonk Music Websites Hot Country Hits Music Websites Insurgent Country/ Cowpunk Websites Western Music Websites Chapter 7. Easy Listening Music Websites Easy Listening Websites Exotica Music Websites/ Tiki Music
34 Lounge Music Websites Orchestral Pop Music Websites Chapter 8. Electronic Music Basics Electro Music Websites/ Electronic Music Websites Acid House Music Websites Ambient Music Websites Big Beat Music Websites Breakbeat Music Websites Computer Music Websites Downtempo Music/ Chillout Music Drum and Bass/ Drum 'N' Bass/ DNB Music Elevator Music Websites Freestyle Music Websites Garage Music Websites Hard House Music Websites House Music Websites IDM Music/ Intelligent Dance Music Jungle Music Websites Progressive Music Websites/ Progressive Electronic Dance Music/
35 Prog Techno Music Websites Trance Music Websites Trip Hop Music Websites/ Downtempo Music Chapter 9. Folk Music Basics Folk Websites/ Traditional Music Websites Alternative Folk Music Websites Acoustic Music Websites Ballad Websites Contemporary Folk Music Websites Folk Rock Music Websites Traditional Folk Music Websites World Folk Music Websites Chapter 10. Freeform Music Websites Freeform Music Websites Chill Music/ Chill Out Music Websites Experimental Music Websites Party Mix Music Websites Rainy Day Mix Music Websites
36 Reality Music Websites Chapter 11. Hip-Hop/ Rap Music Websites Hiphop Websites/ Rap Websites Alternative Rap Music Websites Dirty South Music Websites East Coast Rap Music Websites Freestyle Rap Music Websites Gangsta Rap Music Websites Old School Rap/ Old School Hip Hop Turntablism Music Websites Underground Hip-Hop Music Websites West Coast Rap Music Websites Chapter 12. Jazz Music Websites Jazz Websites Master List Jazz Nightclubs Info Acid Jazz Music Websites Avant Garde Music Websites Classic Jazz Music Websites Cool Jazz Music Websites Hard Bop Music Websites
37 Latin Jazz Music Websites Smooth Jazz Music Websites Vocal Jazz Music Websites Chapter 13. Latin Music/ Spanish Music Latin Music Websites/ Spanish Music Websites South America Music Websites Bachata Music Websites Banda Music Websites Bossa Nova Music Websites Cumbia Music Websites Latin Pop Music Websites Latin Rap/ Latin Hip-Hop Music Websites Latin Rock Music Websites Mariachi Music Websites Merengue Music Websites Ranchera Music Websites Soca Music Websites Tejano Music Websites Tropicalia Music Websites (Brazil)/ Tropicalismo Music Websites
38 Chapter 14. Metal Music Websites Metal Websites/ Heavy Metal Music Websites Extreme Metal Music Websites Industrial Metal Music Websites Pop Metal/Hair Metal/ Glam Metal Websites Rap Metal Music Websites Chapter 15. Christian Music Basics Religious Music/ Sacred Music Websites Christian Music Websites/ Contemporary Christian Music (CCM) Christian Metal Music Websites Christian Rap Music Websites/ Christian Hip-Hop Christian Rock Music Websites Church Sermons/ Preaching Websites Classic Christian Music Websites Contemporary Gospel Music Websites Gospel Music Websites Gregorian Chants Info
39 Praise Music/ Worship Music Websites Southern Gospel Music Websites Traditional Gospel Music Websites Chapter 16. Healing Music/ Healthy Music Music Therapy Info Music Psychology Websites Inspirational Music Websites New Age Music Websites Environmental Music/ Ecology Music Ethnic Fusion Music Websites Healing Music/ Peaceful Music Meditation Music Websites Space Music Websites/ Space Age Pop Spiritual Music Websites Chapter 17. Oldies Music Websites Oldies Websites Big Band Music Websites Bop Music Websites Doo Wop Music Websites/ Doowop/ Doo-Wop
40 Elvis Music Websites Old School Music Websites Swing Music Websites/ Western Swing Music 30s Music Websites 40s Music Websites 50s Music Websites 60s Music Websites 70s Music Websites 80s Music Websites 90s Music Websites 00s Music Websites Chapter 18. Pop Music Basics Anti-Pop Music Pop Music Websites Adult Contemporary Music Websites Barbershop Music Websites Bubblegum Pop Music Websites Dance Pop Music Websites Dream Pop Music Websites Jpop Music Websites/ Japanese Pop Music
41 New Wave Music Websites Power Pop Music Websites Soft Rock Music Websites Teen Pop Music Websites Top 40 Music/ The Music Charts World Pop Music Websites Chapter 19. Rhythm &Blues (R&B)/ Urban Music Websites Classic R&B Music Websites R&B Music/ Contemporary R&B Music Websites Funk Music Websites Motown Music Websites Soul Music Websites Neo-Soul Music Websites/ New Age Soul Quiet Storm Music Websites Urban Music Websites Urban Contemporary Music/ Urban Adult Contemporary Music
42 Chapter 20. Reggae Music Websites Reggae Websites Contemporary Reggae Music Websites Dancehall Music Websites Dub Music Websites Pop-Reggae/ Reggae Pop Music Websites Ragga Music Websites Reggaeton Music Websites/ Latin HipHop Rock Steady Music Websites Roots Reggae Music Websites Ska Music Websites/ Blue Beat Music Chapter 21. Rock Music Websites Rock & Roll Music Websites/ Rock Websites Alternative Classic Pop/ Alternative Classic Rock Websites Adult Album Alternative/ Triple-A/ AAA/ Adult Alternative Classic Rock Music Websites Classical Rock/ Progressive Rock/
43 Symphonic Rock Websites Emo Music Websites/ Emotional Punk Websites Garage Rock Music Websites Glam Rock Websites/ Glitter Rock/ Big Hair Metal Grunge Music Websites Hard Rock Music Websites Jam Bands Music Websites Modern Rock Websites Post-Rock Music Websites Progressive Rock/ Prog Rock Music/Art Rock Music Websites Punk Websites/ Punk Rock Websites Post-Punk Music Websites Rockabilly Music Websites Surf Music Websites Chapter 22. Seasonal Music/ Holiday Music Websites Birthday Music Websites Christmas Music Websites Halloween Music Websites
44 Hanukkah Music Websites Chapter 23. Soundtrack Music Websites Movie Music Websites Soundtrack Websites Anime Music Websites Original Score Websites Showtunes Music Websites Chapter 24. Romantic Music Basics Romantic Music Info Love Music Websites Love Music Radio Good Love Cds Sexy Music/ Erotic Music Lyrics to Love Songs Heartache Music/ Heartbreak Music Wedding Music/ Wedding Music Websites Wedding Anniversary Music Websites Chapter 25. Patriotic Music Info Patriotic Music Websites
45 Marching Band Websites College Marching Band Websites Military Music Websites National Anthems of The World Chapter 26. Native Music/ Aboriginal Music/ Indigenous Music/ First Nations Music/ Tribal Music American Indian Native Music Tribal Music Websites Worldwide Native Music/ Aboriginal Music Chapter 27. Alternative Music/ Indie Music Alternative Music Websites/ Indie (Independent) Music Websites Outsider Music Websites Indie Pop/ Indie Rock Lo-fi Music Websites/ Low Fidelity Music Websites Noise Pop Music/ Noise Rock Music
46 Chapter 28. Dance Music Websites Dance Music Websites Dancepunk Music Websites/ Electropop Music Websites Disco Websites Polka Websites Waltz Music Websites Chapter 29. Acappella Music/ Voices Only Singer Info/ Vocalist Info Learn to Sing Info Barbershop Music Websites Chapter 30. Stoner Music/ Druggie Music Psychedelic Music Websites Trippy Music Websites
47 Volume 9. Music Around the World
Chapter 1. World Music Basics Global Music/ International Music/ World Music Websites Specific World Music Websites Ethnic Music/ Ethno Music Chapter 2. Some Types of World Music Fusion Music Websites World Fusion Music Websites Worldbeat Music Websites Zouk Music Websites Chapter 3. Music by Modern Western Country Ireland Music/ Irish Music North American Music Websites Scotland Music Websites/ Scottish Music Chapter 4. Canadian Music Info
48 Canadian Music Websites Canadian Music Organizations Canadian Internet Music Canadian Concert Listings Canadian College & Community Radio Websites Canadian Music Products For Sale Chapter 5. British Music Info British Music Websites British Pop/ Britpop Music Websites British Invasion/ British Nostalgia Rock British Music Stuff For Sale British Concerts & Gigs British Events/ British Festivals Chapter 6. International Music Websites Afghanistan Music African Music Websites/ Africa Music Websites Argentina Music Websites Armenian Music Websites Brazilian Music Websites
49 Caribbean Music Websites Egypt Music/ Egyptian Music Germany Music Websites Ghana Music Haiti Music Iran Music/ Iranian Music Jewish Music Websites Kazakhstan Music Middle East Music/ Arabic Music Websites Persian Music/ Iran Music South Africa Music Turkish Music/ Sephardic Music Chapter 7. European Music Basics European Music Websites/ Europe Music Celtic Music Websites Finland Music Greece Music Websites/ Greek Music Websites Italy Music/ Italian Music Websites Latvia Music
50 Mediterranean Music Websites Norway Music Websites Polish Music Websites Russian Music Websites Scandinavian Music Websites Chapter 8. Pacific Music Basics Australia Music Websites Hawaiian Music Websites New Zealand Music Websites Pacific Islands Music Websites Chapter 9. Asia Music Basics Asian Music Websites Chinese Music Websites Filipino Music Websites Hindi Music Websites/ Hindu Music India Music/ Indian Music Japan Music Websites/ Japanese Music Websites Nepal Music Websites Pakistan Music Tamil Music Websites/ Carnatic Music
51 Thailand Music Websites
Volume 10. The World of Dance
Chapter 1. Dance Recreation Dancing Introduction Major Dance Websites Dance Websites/ Dancing Websites Dance Choreography Websites Dance Contests/ Dance Competitions Dance Video Websites Dance Organizations Info Dancing Products/ Dancewear Dancing Resources Dance Software/ Dancing Software Chapter 2. Dance in Specific Countries & Cultures Australia Dance British Dance Websites Cajun Dancing Websites/ Zydeco Dance
52 Canadian Dance Websites Greek Dance Hawaiian Dance/ Hula Dance Hindu Dance Ireland Dance/ Irish Dancing/ Celtic Dancing Jewish Dance Scotland Dance/ Scottish Dance/ Highland Dancing South Africa Dance Chapter 3. Dance Education/ Dance Schools Dancing Education Basics Dance Education Websites/ Dance School Websites Dance Classes Categorized By State Dance Courses At Colleges & Universities Chapter 4. Types of Dances Adagio Dancing Websites African Dance Info
53 Ballroom Dancing Websites Baton-Twirling Fun Belly Dancing Websites Blues Dancing Websites Break Dancing Websites Christian Dancing Websites Country & Western Dancing Websites Dance Exercise Webites Dance Theater Websites Ethnic Dancing Websites Folk Dancing Websites Hip-Hop Dancing Websites Historical Dancing Websites Jazz Dancing Websites Mime Dancing Websites Modern Dance Websites/ Contemporary Dance Websites Renaissance Dancing Websites Round Dancing Websites Square Dancing Websites Swing Dancing Websites Tap Dancing Websites Waltz Dancing Websites
54 Chapter 5. Latin Dance Basics Latin Dancing Websites Flamenco Dancing Websites Samba Dancing Websites Salsa Dance/ Salsa Music Websites Tango Music Websites Chapter 6. Ballet Dancing Basics Ballet Websites Ballet Schools Ballet Courses At Colleges & Universities Ballet Troupes In The United States Canadian Ballet Foreign Ballet Companies Chapter 7. Dance Jobs Dance Career/ Dance Jobs Dance Teacher Jobs Dance Therapy/ Dance Movement Therapy/ Choreotherapy Dance Notation & Reconstruction
55 Square Dance Caller Jobs
Appendix. Public Domain Music Books Scales and Key Signatures, by U.S. Army School of Music How to Sing, by Lilli Lehmann Advice to Young Musicians. Musikalische, by Robert Schumann Miscellaneous Notes
56 Music Introduction
The way to make it is to create magic in the music you write or play. How rare is this? How many great songs can you name? My music appreciation is primal. It’s about what the music makes me feel when I hear it for the first time and succeeding times after that. Does it instill any powerful feelings within me or is it just more of that generic pablum that’s going across the mainstream airwaves all the time as a matter of marketing course? Does it have some melody or purity of sound to it? Does it take me away to some transcendent place?
57 Does it move my emotions? Does it have great lyrics? Was there a lot of secondary mixing in the background to make it a truly extraordinary, sophisticated masterpiece? I’ve listened to The Fixx’s song Secret Separation 20 times in a row once. There is something transcendent about it. Another one is Strange Advance We Run. I like Borderline by Chris Deburgh too. It’s rare to find a song you really, really like. Most are just ok. Music to me either stands on its own or doesn’t. I don’t particularly care who the artist is. Just because it’s put out by a so-called pop star doesn’t mean that it’s good music.
58 Conversely, I’ve heard stuff on CBC’s Global Village that was obviously recorded in a little room with old recording equipment but it sounds great because it’s got soul to it. All the technology in the world can’t give music soul or passion. I’m no respector of the image involved with the performers of the music I listen to but that still doesn’t stop the ability of the mainstream music industry to manufacture and market anyone they want to become a pop star which is why I have a contempt for anything to do with Top 20 music. I’ve now said my piece so from this point on, this will be an objective, educational resource guide. I’m definitely critical of a music industry that chooses to manufacture a few, fake
59 cool people as the pop stars of the moment as opposed to selling music on its merits or lack of them by opening up mass media access to all artists with some talent but that’s the way it is. I can’t change it so I won’t harp on it anymore in this book. Now you know I’m a cynic. I like music but I have contempt for the mainstream pop music industry. Through this book, I want to provide knowledge and information about all aspects of the world of music for your recreation or vocation, whichever way you happen to be tied into it. If you have any more information that you think might be relevant for this book, send it to me and I’ll add it to the next edition of this book.
60 Navigate Pages in PDF Format
There are three ways to navigate your position in a PDF document: 1.) The first way is simply to type a page number in the page number box on the left. The page number box on the right is the total number of pages in the document. 2.) Press Ctrl+F. The box at the top of the screen near the right side will light up. You type some text in such as a subtitle from the Table of Contents and everytime you press Enter, this Find/ Search Function will go to the next place in the book that the particular line of text is located. 3.) On the far right of the page, there’s an arrow pointing upwards, a page indicator within a thin white vertical
61 line ending with an arrow pointing downwards at the bottom of the page. Put your mouse cursor on this little page indicator thing, press down on the left side of your mouse then keeping it pressed down, move this little indicator wherever you want in the document.
Volume 1. The Music Biz
63 Chapter 1. The Music Biz Basics
The Music Biz Intro
Most young people who want to get into music see the finished product but don’t realize the hard work involved and many other people on the sidelines making it all happen like managers, producers, recording engineers, etc. Most people won’t make it as top performers but you might find a job you like in music out of the limelight. The situation nowadays is that large corporations own the record companies, the radio stations, the big music websites and the TV music networks so they control what gets out there to the mainstream. To top it all off, the music
64 industry is probably the most competitive industry in the world. There are so many bands and singers. If you saw the quality of some of them playing nightclubs who don’t even have a record contract with a big label, you’d realize the chances of anyone making it in the music industry is at least 50% fluke/ luck. If there are great musicians out there already, playing in little dives because that’s all they can get then what are your chances if you’re just another generic, pretender clone? That’s the funny thing about the music biz. There’s no rhyme nor reason as to who makes it. Some great musicians don’t get the big contracts while some punky kids do.
65 It’s a tough world. There’s image, talent, luck and street smarts. If you get an opportunity, you have to exploit it preferably without selling your soul even though lots of people sell their souls to make it which is wrong because it defeats the whole purpose of why you should do anything. You should do whatever you do to honor who you are and not sell out to put on some phony image just to make money. Identify one true musical talent beyond the hype and packaging. Who has their own voice and style and are not just another generic act? I’m not impressed by anyone who doesn’t create their own songs or does tacky perfume ads on TV. There is a lot of sex appeal involved with getting a record producer interested
66 in you. If that record producer wasn’t attracted to Shania or Eileen (her real name), she would be another aging wanna be singer by now. She ain’t got nothing that special that at least a thousand other girls in the music biz could do. It’s like that old Brady Brunch show. Greg got the part of Johnny Bravo, rock star, cuzz he fit the suit. If you manage to become a pop star, try not to sell your soul in the process simply because you’ll have more longevity if you have your own style that people like. There are plenty of transient pop stars but very few truly great, inspiring musicians. Most current pop stars will be all but gone from the so-called incrowd in five years. Try to make it with good music. Don’t
67 flaunt yourself or rely on a lame gimmick. Try to be modest and humble because there will come a day where you will either look back with shame on what you’ve done or others will do you in because nobody can stand an arrogant jerk thinking they’re a star, more special than the rest of humanity because you sing a song. Madonna puts Kevin Costner down as a nerd in the movie Truth or Dare for all the world to see then five years later apologizes for treating people badly. In the final analysis, you’re not really helping anybody in a concrete way, you’re just singing a song to give the flakes of the world a moment of transient pleasure because they’re too stupid to know that happiness comes from living by an inherent standard within themselves, not from consuming
68 pop culture entertainment. Great songs have worth because they inspire people and make them feel good but most pop music is generic background stuff. It doesn’t have the quality to make people feel deep emotions. Once you pass 35, even if you’re one of the few still on the frontlines of the music biz, your days of having young, naïve teenage groupies will be numbered. Unless you got true, original talent, it’s a fickle business and don’t you forget it. It will take some luck and you will probably have to sell your soul although you will never admit it to yourself. The self-delusion is monumental. They all think they’re pure, real artists making
69 it on their talent. Yah, sure. Why would a great artist have to flaunt their bodies? If I wanna see naked bodies, I will watch a porno not a music video. If I wanna see or hear music, I want it pure. I don’t know what the supposed appeal of Alanis or Avril are spozed to be. By the time this book gets out, they should be has-beens if true talent has anything to do with it. There aren’t too many great talents out there. Most people are middle of the roaders who either imitate what they think is cool or get packaged into an image by a large corporation. By being an average talent, it puts success in the realm of chance/ luck. If the winds are blowing your way, you will make it. If not, you will play dives for ten years then wake up and get a real
70 job. There are many small indepenent labels and alternative ways to get your music out like through the internet and live performances but this is a hard, tedious road. You have to sell yourself all the time and you had better be good so a major label sees you then packages you for mass consumption. For the moment, it’s still the only way to make it big, to be good enough to be packaged by a major corporation into some kind of musical entity. The only way the independents get radio or music TV airplay is if they’re really, really good and the public really, really wants to see and hear them which is very rare.
71 After all, music is just a commodity like anything else. The major corporations have got the packaging down so well that they can sell just about anything to the mostly under 25 very impressionable young target audience who, in my opinion, are easily manipulated while thinking they’re free and wise. To be a performer takes travel, promotion, being both a people and a night person, working in nightclubs, concert halls and other venues and along with this, drinking and doing drugs which is generally part of the lifestyle. As a musician, you have to practice all the time, you have to write your own songs and produce/ record them in the studio, that is, unless you’re just a generic pop culture product.
72 You have to love what you do and have some kind of gift for it, it’s that simple. It has to be in your blood so much you’d do it for free because something inside of you says you have to. A lot of people get incredible stage fright before performing. Can you handle it? You have to love it and be cool about it, get around and circulate with people to get known and find or get found by the people who can help you. You will probably have to do music as a part-time gig for awhile while you support yourself with a so-called real job. Get out there and perform any way you can; nightclubs, private parties, weddings, high schools, colleges,
73 concerts, recording sessions, TV commercials, movie soundtracks, TV shows, church, etc. You have to get out in front of people, do the grind of playing a nightclub circuit for awhile until you start to feel the reality of it.
Be A Working Musician/ Pop Star 1
You gotta love the life you lead and lead the life you love. Most true-blue musicians, not the manufactured pop stars you see on TV, live most of their lives playing dinghy nightclubs, jamming with friends in endless recording sessions and creating songs that very few people will ever hear but they don’t care because they were
74 meant to live that bohemian lifestyle as the soulful musicians they are. That’s real, the slick videos you see on TV are largely a fantasy, the realm of a few pop stars most of which are seasonal wonders with short lives in the music industry. There are very few tried and true musical pop stars who have made a career out of it. If it was meant to be, you will do it. Aside from playing live, you might get some studio work, generally recording sessions at either of the three major music cities; NY, LA and Nashville. If you’re good, you will make a demo, pass it around and get a record deal and/ or get your own website, do some distribution from there and maybe get some play on college radio stations because the mainstream radio stations
75 generally only play what the corporations want because they’re probably owned by them. Whereas in the past, it was payola under the table, nowadays it’s legal payola because they’re all part of the same few corporate interests. If you’re really tough, you will make your own CD and market it yourself by playing live as much as you can. If a big corporation comes across it and likes it, you will get a record contract with them. You have to move to a major music city and impress a record executive enough with your demo so he comes see you showcase your talents live. If he likes what he sees, he will sign you, give you an advance to record a CD then package a media tour and radio airplay
76 to try to get you known out there amidst all your competition. You might get a manager to try to book gigs for you and get a record deal for a 10 to 15% commission of your earnings. In my opinion, the so-called pop music of today has degenerated into crap over the past fifteen years or so. Before then, there was an objective standard as to what was hummable, what had a clear melody to it but nowadays it’s all these fake artists imitating all the crap they hear called hip-hop or something like that thinking it’s music. Anybody can become a star with a coollooking video that’s played over and over again. You don’t have to sing, just speak the lyrics.
77 Be A Working Musician/ Pop Star 2
To make it big in music, you have to start with one great hit and/ or a gimmick that appeals to your base audience, teenagers, usually a sexy looking guy since girls buy most records or a vampy cool looking girl that teenage girls want to imitate. For a male musician to appeal to young guys, you either have to be studly masculine and/ or rebellious. Most guys look for sexy images in porn, not music so it’s not guys buying the CDs of female vampy pop stars. It’s girls trying to be cool. The music industry is based partially on talent, partially on luck and partially on gimmick. You might be one or the other or a mixture of the three.
78 By and large, most music releases on the charts is generic crud making it because of image, repetition and connections. This is the domain of the industry insiders, the big shots of the record companies who decide what goes and feed it to their buddies on video TV and the radio stations. Your job is to break through the literally thousands of individuals and groups like yourself to be able to produce real good music that stands on its own or to have some hook that the naive youth, who buy most records, will relate to and identify with as either cool or rebellious. There are some no-talent rappers and punk rockers out there who got about as much talent as there is in my butt but they're making it because they project these images for the young, stupid
79 people to spend their money on. Your first course of action, whether you decide to go solo or not, is to find a group of musicians like yourself and get some music happening. In my opinion, the gimmicks are cheap. You know who I'm talking about. You probably have to join your local musicians’ union and get a manager who will book you into local clubs or book yourself into clubs while you're in college or working regular jobs. Recording equipment is now cheap enough such that you can create your own recordings at home. I suggest you become a master music mixer and try to create the best work of art you can by using your synthesizers and mixers. It doesn’t matter how you create it as
80 long as the final product sounds good. Prince got discovered by creating his own recordings. They thought it was a full band but it was just him. You will probably have to play top 40 stuff whether it be country or pop in order to get the gigs to play dance music to make money. Meanwhile, work on your original stuff and try to develop your own unique sound. If you develop a local following, that could be your ticket into the big time if people get to know you. The whole scene is to develop a nice sounding love song or a pop song that people can dance to or hum to that makes them feel good. Good rock songs make it occasionally but the big thing is the love song/ ballad
81 type thing because it cuts across all demographic boundaries. Consider the home grown American appeal like Springstein or Mellancamp who've written those blue collar, Americana type songs. America is ready for another one of those. It could set you up for life. Don Mclean’s American Pie was his one big life song. Never underestimate Bob Dylan. I’m waiting for someone like him to come along with social conscience songs. Many musicians move to L.A., New York or Nashville and end up competing with thousands of others for low level jobs in dive nightclubs while they search for the big contract. One time, I lived next to a big community hall in Los Angeles which
82 was used as a practice studio. I saw hundreds of wanna be rock 'n roll bands pass through there all the time, night after night, all the same, all generic, all clones. I used to do dope with some of these guys since I was just a young guy hanging out then. One guy I knew in a heavy metal band came over all excited because he had just shot his first music video. I watched it with him and while he was there beaming, I couldn't get over how generic it was next to all the other videos on MTV. They're all the same, so stupid. I recently saw one on TV. A professional wrestler’s daughter was trying to break into the music biz so she gets on some show with her famous father, they show her generic music video about some cheerleader schtick
83 and then her old man is there beaming and I’m thinking, “What another piece of generic crap. The world needs another dipstick pop star like it needs Duff promoting clothes for some department store.” That’s cool shit or should I say the bomb. Are those people really that out of touch with the nuts & bolts of the real world? The problem is that this has become the modern fairy tale, the theme of movies and TV reality shows, become a pop star, in effect become packaged as a cool person in the in-crowd to make money quickly by sucking in all the lonely, lost people of the world who buy into this stuff looking for an emotional connection. That’s it right there, give all the lonely,
84 lost people a sense that you’re their friend connecting with them. Maybe it’s a sign of aging but I’m not impressed unless I see and hear something original, done with sincerity and written by the performers. To me, musical talent has nothing to do with cute choreography as with Brittany and Justin. They portray that as the flyest thing around, a half dozen or so of them sashaying with their dance moves in synch but it’s been done so many times that it’s generic by now. Move my emotions with the music alone and I will be impressed. If you really think you got it, you might try for the big city right away but in my opinion, the best approach is to play small gigs and develop about five or six
85 really great original songs, try to get some local air play and some local connections to send your music to the big record companies. The big record companies get thousands of unsolicited demo tapes everyday. You might as well send them yours but it’s still just an outside chance. You have to try to find one manager or a small record producer who believes in you and work up from there. If the music works, it will work with the big companies. They will seek you out and seduce you away from the small company. After you make a record, it won't sell unless it’s promoted all to hell. That means playing gigs, going on TV shows, etc. Your record company and management have to pump you up by
86 using their clout to get you played on radio and TV and get into music magazines. If your video makes it to MTV, call them during request times acting like a fan who wants them to play it. If you're super savvy and tough, you could go totally independent, record your own CD, sell it over the internet, send it out to record companies, magazines and anywhere else you can to get some recognition. If you get some contacts, you could start producing and signing up other bands. That's where the real money is without the hassle.
Be A Working Musician/ Pop Star 3
87 I've seen many rock bands pump out the generic stuff and they think they got it big deal, it ain’t gonna fly. You can make up a cheap gimmick or name to further promote yourself but don't get too crass. The reality for most musicians is endless gigs in small nightclubs where the locals get drunk and don't really give a damn about your music anyway. It’s just background to them. The problem is the competition. With the small record labels coming on the scene, the issue becomes one of exposure. Your manager/ producer has to go around to radio stations and bribe and/ or woo them to play your record over the 100 or so new releases they get every week.
88 If you make a video, do yourself a favor and don't embarrass yourself with stupid antics like in 95% of the videos out there. Just keep the focus on a live performance without the artsy fartsy bull. Keep your day job and keep plugging away. Books about music go from #780-789 at the library. Find record company addresses in certain corporate directories at the library like the Thomas Register, thomasregister.com or in the music magazines. When you send your demo, send a little one page bio about you and your band with a photo. Some bands get full fledged publicity packets made up in a neat folder with their logo on it. There is a pop academy in Manheim, Germany that offers courses in how to
89 be a pop star. Its two programs are pop music design (how to be a pop star) and pop music business for behind the scenes. I met one guy at a live gig in an average sized nightclub who was a popular guy when in his twenties but now in his early forties was an artist with no groupies. He was pretty cool because he was real about it. He laughed when I asked him about groupies. He was doing it because it was what was in his soul by then. He wasn’t a stud/sex symbol anymore. He was just an artist-musician. He took it all in stride. I thought it was the coolest thing in the world, this guy who was a cool looking stud twenty years ago and now he’s playing live gigs in little dives because he defines himself as a musician no matter what.
Be A Working Musician/ Pop Star 4
Many, many people are attracted to the music industry because they think it’s a fun, frivolous life full of easy money, lots of sex and drugs. It looks that way when you watch it on TV, a slick performance that makes it all look so easy, effortless and fun but the truth is that it’s very hard to make it in the music industry even if you’re good because of all the competition. Millions of people either wants to sing or be in a band. Some people get big record contracts but often there’s no rhyme or reason as to who will get the big record contract and be manufactured as a pop star and who
91 won’t. It’s not just about talent. It’s about luck and being in the right place at the right time such as a particular record producer decides to give you the green light. It’s not that simple, not like an on-off switch where you get the big contract and you think all your problems are over. You have to be manufactured a certain way to appeal to a lot of people. You have to culture an image such that the consuming public want to fork over money to buy your music and go to your concerts. There is no formula for this. Your managers can package you and try to hype you up but if you don’t have a certain “it” factor, you’re not gonna make it. Granted, some pop stars don’t have the “it” factor but make it because they literally hit you over the head by
92 promoting the hell out of themselves but most music fans want to see something about a person or band that makes them think they’re cool. Regardless of whether you're aiming for a record contract with a mainstream company or want to make it as an independent musician, it’s all about marketing and shameless self-promotion because there’s so much competition out there for a piece of the pie. Don’t listen when people tell you they don’t want a record contract with a big company because they have no control. The truth is that it’s the simplest way to make money as a musician. Let them do all the marketing. You focus on what you do, the music. If you don’t have a manager who’s an insider in the biz and knows what he’s
93 doing, try to get one by being a good musician with a professional attitude of showing up at all gigs and putting on a good show. Music managers will come looking for you if they hear you’re good. If not, look them up through your local musician’s union and send a few of them a demo tape with an offer to see you perform live. Some people and bands still make it on gimmick alone but it’s not like the old days. There is so much generic, copied stuff and so much average music out there that nobody will pay attention unless you’re exceptional, unless you have some kind of unique, original sound or good energy on stage. Cute only works for teeny boppers. A manager or record producer looks at
94 you to determine two things: 1.) Do you have a look and the music that will appeal to some people and sell records? 2.) Are you disciplined enough to show up at gigs on time and do interviews without embarrassing yourself? Unless you're exceptional, you’re like a thousand other bands so at the very least, be professional from the beginning. Make up an impressive demo package, complete with a DVD of a live performance. Have a cool cover (the cover of your press kit), a cover letter, demo CD, DVD of a live performance, band biography, band photograph and media articles or reviews if relevant. Regardless of who you send this demo
95 to, it will be one of hundreds they have so they give it a look and a listen for a few minutes and based on that, they either decide to check you out more or reject you. Keep it simple. Don’t go overboard on the hype. Let your music speak for itself. Anybody should be able to tell what your image is in a few seconds. The standard professional band photograph is black and white, 8"x10". These guys in the music biz may have been fans at one time but being in the biz has made them wise up to see that it’s a business so they’re only thinking about the bottom line, can they sell your records. They don’t care how brilliant the music might be or how profound the lyrics are. All they care about is can they sell records.
Be A Working Musician/ Pop Star 5
Record companies have artist & repertoire representatives also known as a&r reps to check out new talent and decide whether to sign them or not. A&R reps are humans with emotions. If your cover letter is arrogant, they’ll pass. If they think you might be good, they won’t sign you right away. They want to get a feel for you so they’ll want to talk to you then see you play live. Find the names of a&r reps on some music websites and in some music directories like the College Music Directory, The Musician’s Atlas and a number of others.
97 Ask the people in the local music biz if they know of any managers or record executives. Play live as much as you can. If you get a chance to play at a festival or a showcase even for almost no pay, do it because chances are there’s a music scout in the audience looking for new talent. You could send out a demo to everyone on your list but it might be better to call them and ask them if they’re currently looking for new talent and what type of music they specialize in. If you have the normal musician’s experience, it will be a lot of no responses and some rejection letters. I can’t tell you how an unknown pop singer or band gets signed except to keep playing live and keep polishing your
98 demo package. If you get to the end of the list, you have no choice but to start sending demos to the people at the front of the list all over again. Like I’ve said dozens of times in all my articles about trying to make it in the world of entertainment, there is no rhyme nor reason as to why some talentless band makes it and a great band with original music doesn’t. You just have to be true to yourself, believe in what you do, set up a presence as an indie musician but keep trying for the big record contract. At some point you will doubt yourself and contemplate whether you should be more commercial, whether you should sell out the soul of your music to make it more glittery. Some people do and make millions. Some people don’t and they’re
99 still unknown. Once you get a record contract offer, you need either an entertainment lawyer or a manager to negotiate the details for either a set fee, a percentage of the gross or both. There are some important questions like: How many CDs will you do with the company? How much money and royalties do you want? What is the advance? Who owns the copyrights to the songs? The record company gives you x number of dollars to create the CD then when they sell it, they take that money out of
100 the profits before they start to pay you the royalty. If they don’t recover expenses, you get nothing. I heard that for every ten bands a record company signs, one ends up making the big money to make up for losses on the other nine. I don’t know if it’s true. It’s just what I heard. It sounds pretty bleak, kind of like anyone’s chances of making it big in the music biz is a crapshoot at best regardless of talent.
Be A Working Musician/ Pop Star 6
There is no manual. Everyone has their own path to success. The secret to making it in the music biz is passion, perseverance and a thick skin
101 that can take constant rejection. Those starry-eyed visions MTV, movies and TV shows put forth about being plucked from obscurity because you’re so special and thrust into mainstream success almost overnight are illusions geared to sucker young people into buying into the rock ‘n roll fantasy lifestyle. The true path to musical success except for the very few lucky flukes is long, hard and competitive as hell since every other musician is indirectly competing with you for the consumer buck. Work hard, hold onto your inspired passion and take your licks in the arena of rejection because that’s the normal path to success in the biz. Create music that will be critically acclaimed as well as be hummable pop music. You have to constantly write and rewrite
102 material, heed criticism and find a positive direction to your life, even when it feels like nobody gives a damn about your music, that you’re just another pop culture pretender with delusions of grandeur. You have to believe that your music does something positive for the world. Work at other jobs to pay your bills and save money for studio time or buy your own equipment to record. Learn your craft and carve out your own niche. Accept the fact that you do it because you love the process and may never get rich or even solvent from it. Security is only as good as your current product. The challenge and fight never ends. Shannainai might be hot stuff as I write this but she’s getting close to middle age. She will be put on the backburner of public consciousness soon
103 as the young ones replace her. Her music is generic pop. Some old dude like Elton John or Phil Collins can still sell product because they’re music creators with their own sound. Virtually every female pop star with a sexxy image is basically a pop culture product, selling a gimmick of coolness and subtle sexuality but any thin chick with a voice can do that. She will have her day then it will be over just like with Tiffany, Mariah, Madonna and Whitney, all has-beens by now, at least to me. There’s something unappealing to watching tired-looking middle-aged frumps trying to act sexy and cool. You are what you are. I think one of them is taking steroids to fight aging. It’s young people who buy 90% of the
104 CDs. If you ain’t under 30 years old, it’s very rare to get a record deal with a major label and sell lots of product. Accept music as a business. Accept producers as business leaders who can help shape songs into something marketable for mass consumption. Business and artistry are opposites in spiritual orientation but they are bedfellows, albeit strange bedfellows. You can’t be one or the other. You must be both. Retain your original reason for being an artist but be smart about the business end of it. The guys called The Bay City Rollers were playing gigs left and right while their song Saturday Night was hot but their manager ripped them off. They had nothing at the end. Billy Joel, Leonard Cohen, In Synch and tons of others were
105 ripped off by their managers because they left money management to others. When you do that, you will get ripped off. It’s human nature to steal money when the opportunity presents itself. Keep writing songs. Collaborate with others. Buy some computer music recording equipment and record your own stuff. Publicity and bringing attention to yourself or you band is as important as marketing a new consumer product. Get a marketing book at #658 at the library. Shamelessly market yourself. Believe in yourself to the extreme. Sell like a used car salesman. With thousands of bands everywhere looking for exposure, you need creativity both for music and marketing your music. You have to do it for yourself
106 before anyone is going to invest in you. Focus on who your music resonates with, who the potential audience is and cater to them. Do things on a small level to pick up fans. All bands must have a website to post bios, concert dates, reviews, music samples, etc. Give your music to as many people as possible. People have to know you exist before they even consider buying your music. Put free music on the internet. Make up t-shirts with your band logo on them and give a few away at gigs to cool looking people who look like they get around. Be yourself, true to who you really are. Have integrity. Don’t fake it with gimmicks.
107 If you’re going for a band as opposed to solo, getting along is important for the collaboration to create music and tour without fighting. Fighting or differences are good to a limited extent because they help with the creative process, this angst that has to be released. Wear cool clothing on stage. Believe in yourself, keep creating music, hang around with people in the biz and play in public. Great musicians sweat with effort all the time. This is the lifestyle of a true artist. Great musicians accept the fact that they’re never always on or in but work through the lows. Bad gigs happen. A real musician does it because it’s his life as opposed to the pretender doing it
108 to party, get rich or get chicks. From a distance like on TV, the lifestyle looks glamouros and fun but in reality, you need to find comfort in either or both: Your music. Your bandmates. It gets lonely on the road. There’s the old cliché about the rocker playing for hundreds or even thousands of people one minute then be sitting in a hotel room wondering where’s the party. This is more typical than the glammed up image you see on TV. My final warning is cash flow management. Music is not rocket science. There are expenses on one side, money taken in (assets) on the other. A few sleazy promoters and record
109 companies will pad the expense column which is taken out of the gross before you get your cut of the profits. Be savvy enough to ask to look at an itemized list of expenses. If you’re really smart, you can manage your own gigs, manage the money yourself. It’s not hard with a website. You can book gigs, arrange your own transporation, pay hotel bills, band members, etc. and keep the rest.
Be A Working Musician/ Pop Star 7
If you play live a lot, you might get some exposure and some big-wig might come out to see you live in order to decide whether to represent you as an agent, take you on as a manager or give you a record contract but don’t bet on it.
110 If you want an agent, manager or record contract, unless you have excellent networking abilities, you have to do it the same way all the other obscure artists do. You have to cut a demo CD, possibly a music video, get lists of music agents, music managers and recording studios then send hundreds of copies of your demo out and hope someone bothers to listen to it, likes it and calls you. Just remember, most people in the music biz don’t waste much time listening to unsolicited tapes and there are thousands of bands and musicians sending these people their demos too which is why some musicians don’t even bother with this route. They play live, set up a website, sell CDs or downloadable music through it,
111 promote themselves and if they get a record contract from a big producer, that’s fine but if they don’t, they’re still in control of a moderately successful career in music. Don’t buy into the lie that the best musicians make it. Many don’t. You need some kind of hype or marketing behind you. The big record companies know how to do this. They have the ability to manufacture a mega-selling pop star like nobody else. An independent musician, no matter how good, just doesn’t have that kind of clout to get his music on radio stations, music TV networks and in thousands of record stores. That’s why everybody still wants the recording contract with the big studio even if they are going it alone as independent musicians. It could be the
112 difference between fame and wealth and playing in dives, barely getting by. Look at Shania. If that dude didn’t spot her, decided he wanted to marry her so he made her a pop star, she’d be another generic singer today. Cutting a demo is not exactly easy. Even though you can do it with a computer, it still takes work, know-how and money to create all the sounds you want. There are recording studios in every city that rent themselves out to musicians on an hourly basis complete with an engineer and even back-up musicians if you’re willing to pay. If your music is exceptional, you can record it in your garage and the music execs will feel your greatness. This is how Prince was discovered.
113 You can find duplication companies in the phone book or on the internet. You should get a snappy cover for your CD. If you need money, play at any live gigs in order to earn enough to cut your CD. The government arts programs and some non-governmental music organizations help young, unknown artists cut CDs. Some organizations give out straight money to deserving artists to help them get established. Look in the Foundation Directory and grant books or grants.gov. I cover grants in some of my other books like the business book. Be wary of shady characters. Don’t pay for studio time upfront. Pay a bit when you arrive and the rest at the end of the session. Don’t pay an artist upfront to draw your CD cover. Wait until he’s
114 done to pay him. You can create your own with Photoshop or the free one, Gimp. All wise bands or singers are versatile. They can do several styles of music, not just all heavy metal or all soppy love songs. Show your creative range on your CD. Make the demo no longer than 30 minutes. That’s enough time for anyone to decide whether you’re worth it or not. Place the strong pieces at the beginning. Go from the strongest to the worst. You can play someone else's songs for the demo but if you release it publicly, if it’s not public domain music, you’ll have to get permission from the owner of the song and pay royalties for using it. This counts for parts of songs too. If you use
115 some of the melody without paying, you could get sued. Huey Lewis & the News sued the Ghostbusters song as a rip-off of I Want a New Drug. They settled out of court. Rappers sample all the time without permission and if the record goes big, they have to pay. You can find some public domain music at loc.gov or better still, create your own. That’s what true artists do. If the rights are owned by someone other than the songwriter such as a publishing company or a music manager, you will need to get a mechanical license before you record that work. You can find out who owns the songs you want to cover through the following organizations: bmi.com
116 American Society of Composers, Authors & Publishers 1 Lincoln Plaza NYC 10023 212-621-6000 ascap.com Society of European Songwriters, Authors & Composers 10 Columbus Cir. Nyc 10019 212-586-3450 You have to credit the songwriter on your CD cover. If you write your own songs, get them copyrighted at the Library of Congress, loc.gov. It’s about $20 a song or you can put a bunch of songs together and copyright it as a songbook or a song list.
117 Find a studio through a referral from friends, through the phonebook or go to studiofinder.com. Most studios are for profit. Even though they are kindred spirit musicians like you, they still have to earn a living. The quality of studios vary greatly. You have to look around and find a good studio. Maybe the local music college has one you can use on the cheap. Since they charge by the hour, be as efficient as possible. Go in knowing exactly what you plan to do and do it as fast as possible. The more practiced you are, the less you will have to edit and splice. If you listen to a cut and decide you don’t like it and want to re-record, don’t waste time listening to more of it. Cut it off and rerecord it.
118 Warm up before you get to the studio to save time once you get there. Bring back-up instruments and extra things like guitar strings, drumsticks, reeds, etc. The days of cassette tapes are over. It’s all about CDs nowadays. After you get your master CD, first make up a back-up copy then find a duplicating service and run off a few hundred to start. The cover matters. It’s the old packaging, hype bit. Plain covers don’t attract the eyes of managers, producers or agents, funky-looking ones do. Hire an artist or use Photoshop software to create a good cover.
119 Cd duplication companies often offer to cover artwork which could be the easiest way for you. Do a rough diagram of what you want and they’ll create it on computer software. If you’re really cheap, you can copy your own CDs on your computer. If you need burning software, try deepburner.com or nero.com. They even sell multi-drives such that you can record 4 CDs at one time.
Be A Working Musician/ Pop Star 8
Most musicians don’t make much money selling their CDs, tapes and other paraphenalia, they make it the oldfashioned way, selling tickets to their live gigs.
120 A few bands without bigtime record contracts and mainstream media exposure might develop a local reputation wherever they live and make a reasonable living touring nightclubs across the state, region or province but there are still venues for unknown bands as long as they can fill three sets or so with reasonable sounding music. Many nightclub owners don’t care who the band is as long as they can play some top 40 hits such that people come in to have a dance and a drink. These are what I call the mainstream nightclubs but in the big cities nowadays, you got bars that specialize in one type of music only; top 40 pop, jazz, oldies, hip hop, punk, alternative, etc. I’ve known one band that has about five different schticks. They can change
121 their appearance and roster of songs depending on what their client wants. They are versatile. Live music in lounges is not past its prime, it’s just undergoing changes. When I was a young dude in the late seventies and eighties, going out to the disco or the lounge was the thing to do. That was the culture back then. Nowadays, you got all the technology entertainment products for the home and a general attitude of health such that many people don’t drink alcohol that probably cuts into the lounge business but girls and guys alike like to go out, meet people and dance. People still love to dance to current top 40 hits and standards of the sixties to the nineties. If you can provide that kind of music, you will find gigs.
122 The economy in general affects the music industry. The worse the economy, the less people spend on entertainment. The better the economy, the more they spend on entertainment. Chances are that if you’re any good, you will join the local musician’s union and have either an agent or a manager who will book gigs for you but you have to be in control of your own destiny too by going out looking for gigs and even creating your own. In fact, many musicians are down on agents because unless your band is currently hot, to the agent, you’re just one act of six or more that he has and he will only book you if someone calls looking for your type of band. Chances are that he will not aggressively promote you.
123 The old school mentality was that an agent or manager saw a band, fell in love with them then worked like hell getting them publicity but nowadays, this doesn't happen much. An agent takes on a handful of bands he feels alright about and becomes the order-taker for them. It’s not like old Colonel Parker promoting Elvis. It’s more like a guy in a room answering calls for orders. He has no strong love for any of his bands. In my opinion, this is due to the nature of bands nowadays. All I see is clones. When I see an original band, I don’t like their music. They are original but the music sucks. It’s hard to be fresh, inspired and mainstream. When Outkast came out with that hit song in 2003, that was the
124 freshest thing I had seen in awhile. You have to promote yourself then as a result of that, hand out your business card and promo kits and people in the biz call you directly for gigs. Beyond the agent whose job is to find gigs and record contracts, many bands hire a business manager who takes care of the money. He collects the pay cheques, pays the expenses, books hotel rooms, etc. He could be a rip-off artist. Either hire someone you trust like a close relative (spouse, parent, sibling or offspring) or do the business end yourself. Be wary of business managers. Watch your own money. If you want cautionary tales, check out Billy Joel and the Bay City Rollers.
125 It’s no secret that the music biz is feast or famine. When you’re hot, everybody wants you. When you’re not, nobody will give you a gig. I was surprised when Sony dropped John Denver’s record contract. At one time in the early eighties, he was hot. He even had his own TV show. I loved his double live album. He had some of the most beautiful music I had ever heard in my life. I remember listening to it stoned in the back of a car driving across New Brunswick. He was a great musician but hardly anyone pays him or his type heed anymore. All these country “stars” nowadays are clones down to the corny cowboy hat.
Be A Working Musician/ Pop Star 9
126 For anybody in the know, music is a tough way to make a living. It’s not like the few pop culture flukes you see on MTV. It’s brutal for most bands and individual musicians. It’s not enough to practice your craft, you have to be a business person, promote yourself and seek out gigs on your own. The bottom line is that except for young people under 25, music is not a big deal in the lives of the average adult. So what if you’ve got a great song. There are a thousand others out there too and besides what can a song do for me but make me feel good for a few minutes then after I’ve heard it a hundred times, I’m ready for another song. In comparison to the daily demands of life such as paying bills and earning a living, music is way at the back of priorities, something done for a bit of
127 casual leisure when all your work is done. Celine Dion might sell several million of her CDs worldwide but she’s one of the few flukes and you don’t see the massive amount of promotion and publicity that go along with this. Just be realistic about the music biz. Some young people under 25 might think you’re cool but most people over 25 simply don’t bother with music much. Having said all that, music is an act of the soul. Those that do it for the right reasons have no choice but to follow their souls. To this end, it can be an interesting lifestyle because you get to stay inspired by writing songs, practicing and playing live gigs plus you meet a lot of people and even get some
128 groupies here and there. The sad part of the music biz nowadays is that a few corporations control most of the mainstream venues. They are conservative by nature, stick with their old acts and simply repackage them, the net result being that new acts have a hard time breaking into the mainstream corporate music industry. Overall, the market for live music is as follows: Weddings, high schools, private house parties, private events, country clubs, casinos. Etc. You must play top 40 stuff Professional event planners and caterers who plan parties and events for corporations, organizations, etc. Nightclubs and bars, hotels with
129 lounges, mainstream and specific category like country, heavy metal, etc. Look for hotels with live entertainment and make your pitch. Try the following: 6c.com ahla.com, american hotel and lodging assn. ahma.com, american hotel and motel assn. motelmag.com mytripandmore.com, links to major airlines, hotels, car rentals, etc. wordofmouse.com, reviews of hotels, restaurants, travel and entertainment. yahoo.com/business_and_economy/com panies/travel/hotels If you’re really resourceful, you will contact resorts and hotels in foreign countries that have live entertainment. Do your research in my travel book or on the internet.
130 Get my education book for info about colleges. You can send out promo kits to their entertainment department one at a time or join the National Assn. for Campus Activities, naca.org, which books entertainment at colleges. Get booked to go to one of their showcase auditions where college promoters from all over the nation will see you play. Go to cdbaby.net/derek/college. Cruise ships. Refer to the later section. Fairs, festivals, circuses, etc. Book through agents or contact them on your own. Refer to my travel book for leads. Try the following: conventionbureaus.com culturefinder.com eventseeker.com eventsource.com
131 eventguide.com eventplanner.net/cities/usa/tourist eventsworldwide.com expoguide.com eventcal.com, current events. fairsnet.org festivalfinder.com festivalseeker.com, canada. festivals.com festivalsdirectory.com House concerts, concerts performed at houses where the artist and his friend, a homeowner, split the take. Try the term “house concerts” in search engines. Do-It-Yourself concerts or dances. This is similar to house concerts in a bigger venue. These events work if you have a regular following but they are a lot of work and take a lot of planning. Small theaters and nightclubs are more amenable to this idea than large ones.
132 You rent a community center, church hall, theater, lounge area in a hotel, open field, etc., do your own advertising, decide what it will be, either a concert or dance, get a temporary alcohol serving license if you plan to serve booze, promote like hell stating it will be a good time and hope a lot of people show up. It’s a lot of work to set up your own gig. If it works once, do it next month. If it really works, try a bigger venue. The risk is that you have to pay the fees upfront. If people don’t show, you lose money. There is insurance to buy and even safety and bathrooms if you’re doing an outdoor gig. A way to offset rent is to try to make a deal with the owner. Offer a nightclub owner to play for free in return for the
133 cover charge take which is low enough such that he won’t lose regular customers and he still makes his money on his booze and food. Or approach a theater owner and offer him 50 percent of the door take while he gets to sell soda and popcorn too. Charities and benefits, some you do for free for exposure, some you do for pay. Busking, street musician. This is profitable in some areas like the Toronto subway system where they give out licenses to worthy artists who pass an audition. More importantly, it might give you enough exposure to get a recording contract. I saw stories like this on the news, people playing in the subways, some bigtime record producer sees them and gives them a contract. The pay is not
134 shabby either; a hundred or more dollars in cash tax-free everyday if you’re good. Beyond this there is a circuit of busking events and music festivals all over the world. Some people follow major events and busk on the streets. They might go to Mardi Gras, the Indianapolis 500, the Kentucky Derby, Gay Mardi Gras in Sydney, Australia, the fringe festival in Edinburgh, Scotland, the Jazz Festival in Montreal, etc. Many musicians go from performing to take other jobs in the music industry like agent, promoter, producer, etc.
Be A Working Musician/ Pop Star 10
For most people, there will be no magical nirvana moment when you’ve
135 done enough to be set for life. You will constantly play gigs for an average sum of money but it’s nothing like the bigtimers do. This is the way it is. There are only a few superstars in the entire music biz and of all of them, most are fleeting. They will be gone in five years. Very few are lifers like Paul Anka, Elton John or Phil Collins. You have to call people asking for gigs, develop a good website, send out promo kits, play benefits, go out to clubs and other venues to meet the owners and promoters, offering your services, even for free for a night or two so they can check you out. Your website has to make your band look good, have stuff for fans, offer CDs, photos, t-shirts and concert Dvds for sale and also have a place where you
136 are promoting yourself offering to perform live gigs to anyone interested. This is sometimes called an electronic press kit. Put an icon on your website called Electronic Press Kit or EPK which is your promo kit in cyberspace. They click on, they see your picture, hear you talking about the band then see a clip of you playing live. Learn a bit about movie-making from the other sections in this book in order to make a video of yourself playing live and possibly make a creative music video with artsy stuff on it. One way to get free live footage is to volunteer to play at a benefit that will be on TV or volunteer to play for your local cable access channel then use that as your promotional footage. If all else fails, hire a wedding videographer to
137 film you. Keep your promo photos current in order to avoid negative repurcusions. Some people have not changed their publicity photo in 15 years because they want potential bookers to see them as young people but this just creates bad will and fools no one. It is enough false advertising to void a contract. Include a phone number, fax number and e-mail address so that prospective promoters can contact you. Offer free music downloads and live video streaming on your website. Do what you have to do to get listed on major search engines. Offer an e-mail mailing list which is a free e-mail newsletter you send out to anyone who wants to subscribe.
138 There are now websites coming out that are gigfinders. They present possible gigs, anything from a child’s party to a big concert. You can submit an offer that you will do that gig for a set fee. Send them an e-mail telling them to go to your website to check you out. From there, they might want to see a promo kit, meet you or see you perform live before they decide. I know that many musicians see themselves as artists and don’t wanna know anything about the business end of the biz. Unless you’re a superstar with trustworthy management, you’re a fool if you don’t watch the business end of biz. I see myself as an artist of life which is fine for me but when I’m around other people, I act like the most agreeable, friendliest guy around. I’m not trying to impose my “cool” bohemian views on
139 anyone else. I’m past trying to impress other people. I live for myself but this is a big problem in the music biz. The music biz attracts all kinds of narcissists, egomaniacs, artists, pretenders and misfits trying to get attention for themselves, much of it misguided. They think the fame or popularity will fulfill them somehow but they don’t realize it’s all transient. The people in the crowd are there for an experience to make the scene in a community of people. They don’t much care who the entertainment is. That’s the excuse for them to gather to see a bunch of other people in the same place, feel a sense of human community for a minute and maybe meet the love of their lives. Beyond this, anybody who is that stupid
140 to be a groupie or fan of anyone else is someone I consider so weak and lowly as a human being that I wouldn’t be interested in knowing them or befriending them. Entertainment is just entertainment to me. Nobody impresses me but a few good magicians and illusionists and even then, it gets thin because there are about ten different types of tricks and that’s it. Even the good musicians don’t sound so hot live as opposed to the studio. The music industry itself turns some people into egotistical hotheads and stresses others out to the point that they become mentally ill. This is because of the rejection and the uncertainty of your future viability as a musician at any moment in time. It’s not like accounting where you can still crank
141 numbers in a backroom even if you’re depressed. If you’re a musician, you have to be around people. Your mental illness will show. Since music is largely a young person’s business, many musicians are immature. They come off like self-centered idiots when they think they’re being cool. I saw some footage of the former lead singer of the Doors, Jim Morrison, now passed on but it was the kind of stuff any mature person would be ashamed of, childish, ignorant antics while being interviewed. If he was alive today, he would be ashamed of it but he thought he was being cool at the time. Madonna says she isn’t ashamed of her antics in the past but there are a few clips of her in the movie Truth or Dare where she insults Kevin Costner and
142 Warren Beatty and they take it because they’re too polite to call her on it but the fact is that it is rude behavior by anyone’s standards. It speaks volumes about her real character. Leopards rarely change their spots. Scrooge did but he was a fictional man. My point is that if you’re a professional musician, act like one. Do your crap on stage but once you get off, you’re out of character. You now become the sensible, down to earth person who can talk human to human to anyone. Don’t put on airs acting like some cool, deep, mystical, spaced out, far out advanced artist. You’re not fooling me. There was a black dude, Flava Flave, wearing a clock necklace who had a reality TV show for awhile where he
143 was acting like someone living in a fantasy in his own world but I’ll bet when the cameras go off he’s a lot more down-to-earth than that. People like me know it’s all an act so be yourself. Be of sound mind and body, be clean, take care of yourself. Playing gigs into the late hours, drinking, smoking, screwing groupies and doing dope are fun for awhile but you have to save yourself for the longterm. It’s better to be a middle-aged marathon runner still in the game than to burn out and fade away. In the old days, the hippie, grunge look was cool but nowadays, the music biz is business. You wouldn’t wear jeans to a business meeting so don’t do it when going to meet a client or producer.
144 As a final point, don’t believe what you see on MTV. It makes it look like the music biz is a fun, easygoing, big, happy family. This is a lie. It’s a cutthroat, competitive business. A few people luck out to sell big because of a gimmick. They become flavor of the month. A few have real talent. Everybody else is struggling. It’s great to get airplay in small markets and get good reviews but all is for nothing if you don’t have a good promoter trying to get you a good record deal, get you on MTV, on mainstream radio stations, in music mags and get you on tours with the bigtime insiders. This is the only way to make it big. Promote endlessly to the bigtimers. Find somebody who believes in you who will work hard to promote you. Don’t wait for a record deal. buy some
145 music software and start recording your music in CD form now. The music biz is made up of many local areas and many small radio stations. The serious artists tries to connect with them all. Only the flukes get on MTV and sell a million records based on that alone. Everybody you meet in the music biz, you should write down their contact info then put key word modifiers describing what they do so whenever you’re looking for something like, say drummers, for example, you type in drummer and the sdearch function of your software will call up all the drummers in your database. Try indiebandmanager.com. Be friendly. Don’t always be selling yourself.
Be A Working Musician/ Pop Star 11
The hard part of being in music is that it’s not necessary and there’s so much of it anyway for free on the radio and on the internet. You need to eat, you need a toilet, you need gasoline. You don’t need music. Sure, a handful of people get incredibly wealthy but most don’t. It’s a real tough business. When you look at the odds and see the competition then realize that music is a minor affair in just about everybody lives except for teenyboppers and aging women trying to recapture the easy-breezy feelings of youh, you start to get real. Only do what inspires you. If the
147 process of the music biz is draining you as opposed to inspiring you, get out. It’s a hard business except for the few flukes who get almost instant mainstream stardom. It’s not realistic to think you will be a star. Aim at earning a decent living until you’re 35 or 40 then either get into an offshoot job in the biz (agent, booker, producer) or get into another profession. Hang on after 40 if you want but most people except for the true diehards are tired of touring by then. Ask yourself what are the record executives, the agents and the fans looking for. Write out your ideas then try to be like that. Get rid of your ego. Try to please them. Don’t put on a fake image. Be real. Be polite. Follow the Golden Rule.
148 In this biz, selling out is an oxymoron because everybody sells their souls. They rationalize it to themselves that they’re not selling their souls but extreme artists end up alone and penniless. Wise pop culture artists have enough business sense to give the people what they want. Some naïve people think that everyone in the music biz are cool, easygoing people who love the world in the ecological, liberal sense and go to great parties to do big piles of coke. This is TV and movie reality. The music biz is a business based on image. Some people in it are very conservative and don’t do drugs. Get those silly ideas out of your head. People everywhere are the same. Treat them all with basic courtesy. Don’t assume just because some lead singer in
149 a band acts all cool and rad that you can go up to him and he’s gonna relate to you as a cool dude. Everybody has a standard of privacy. Don’t take liberties with anyone. Don’t assume anything about anyone. Be a decent human being. Be honest. Don’t hype yourself up too much. Just be straight when you talk about your music. Write out your script now of what and who you sound like so you will be ready when you are asked the usual questions about it like what is your musical style or category. You’re trying to arouse interest in you. Think of memorable sounding album names or phrases that describe artists. This is no different than a company with a slogan and vision statement.
150 Go to your five favorite bands, singers and CDs. Analyze them to find out why you like them then use your list on yourself. Say who you are through your image and music. Target your music to your particular demographic group. Music fans come in all different categories. Target your music to your categories. There’s the mainstream world and the specialized categories. Pick one of these two and market to them. You can’t do both. Pick one and stick with it. If you’re mainstream, you will be happy on stage and a clone to some extent. If you’re original, be yourself, market only to the people who get you and dig you. If you’re original enough, create a new category name for your type of music and market yourself using that term so
151 you become the leader in that category if it takes off. Some music stands on its own like Simon and Garfunkel. They don’t need much beyond their guitars and their voices but most music is entertainment. It’s a show. People want to see theatrics, dialogue, charisma and special effects. Marilyn Manson didn’t just all of a sudden develop his personna in one day. He was a regular rocker who found that people liked his performance more when he put dark clothes and make-up on and vamped around a bit so over time he developed his image but that’s all it is or was, an image. Behind that, he is still the regular person he is and he tried to make it apparent towards the end of his run.
152 Don’t try to fake it by acting in character when you’re not spozed to be in character. When you do a TV interview, in my opinion, it’s better if you take the image mask off and act real. People want to see the real person behind the mask but some entertainers are never out of character. To me, it’s irksome when someone is that polished and fake that they’re always in character. It makes me think why are they hiding who they really are? When I saw Barry Manilow on A&E’s concert with him and Paul Anka, these guys are naturals. There is no difference between the stage personna and the person. You feel like they’re basic good guys. That’s one of the reasons they are so successful. There’s no image. It’s just them.
153 I’m not impressed by anyone like the teeny boopers are when they see their favorite pop star. I know they’re all just human beings playing out a role. I want someone to put on their show then walk off and become real, not some pompous ass impressed with how original and fascinating they are. To be perfectly honest, I’m a pop culture cynic. You can read about it in my free spirit books. I think it’s a lame way to make a living and I think it’s lame to prop people who sing songs up to heroic status. I’m more impressed by people who do things that are tough or do things to help humanity. I feel our society is lost when every second person aspires to be an American idol. You had better take a look in the mirror and have a talk to your soul to determine why you want to get
154 into this business. If you’re someone like Simon & Garfunkel or Bruce Springsteen, I applaud you, there is a message, beauty and emotional depth to your music. If you’re like most of the stuff I see around, it’s like why bother. You’re not very good. You don’t have the gift of a true artist. Get real. Do yourself a favor. Find out what you’re really good at that can help people and earn you some money. Get the stars out of your eyes or go ahead anyway. If you’re extremely lucky, you will find some gimmick, make a few records, develop some fans who will have secret fantasies about you (I think that all fans of anything but themselves are losers with weak identities) then they will get tired of you and if you’re smart and
155 lucky, you will have made a million or two that you can use for the next chapter of your life.
Be A Working Musician/ Pop Star 12
A rock and roll nightclub needs rock bands, Branson needs country and easy listening and Las Vegas needs production numbers with style. The person going to a concert wants to be entertained, the bar owner wants a high gate to pay the band and make money and the bride wants her wedding to be a hit. There are opportunities but there is a certain element of luck to the music industry regardless of talent.
156 Most people like to listen to music that they are already familiar with and supplying them with their preferences is the key to making a living playing music unless you're a star with your own records on the radio. Stick with the stock tunes for now as they may be familiar to your audience. Use them to warm up your audience then expand to your list of tunes. Become familiar with the other musicians that you either work with or come in contact with. You can make a living as a musician playing stock tunes and work some of your original materials into your performance, work during the day to support yourself or have someone support you until you make it working on your originals.
157 You can find a gig anywhere that people get together. It could be a social event, a party, or someone's home. You can get a booking on a ship, in a shopping mall, at a club, church, shopping center, parking lots, on a bus, department stores, offices, at the beach, sports stadiums, trade shows, virtually anywhere people congregate or listen to music. Try to book gigs yourself or have one member of your group appointed to get the word out and handle all aspects of the bookings. In many cities, there's a musician's union that might help you get jobs and there are managers or bookers who earn a living booking bands for about 10-15% of the cut. Some types of bookings are:
158 Restaurants, clubs, hotels. County fairs, fund-raisers and amusement oriented gatherings. Rehearsals and showcases. Dance recitals, musical extravaganzas, plays, or any of hundreds of other possibilities. Weddings. Music schools, colleges, recording schools, private music schools and audio and video schools may need some background melody to help to convey a certain idea, image, or effect. Private parties. These types of bookings can be very broad based from a cruise on a private yacht to a six year olds
159 birthday party, a store's grand opening, or a trade or fashion show. Ethnic oriented. Party music for a specific segment of the population may require some extra diversification into other areas of music that you may not be called on to perform often. Churches and Temples. In general, each will employ a director of music whose responsibility will include acquiring an organist, soloist or other type of musician such as a keyboard artist in order to facilitate the proper completion of services or social gatherings. Many freelancing opportunities are available to the group or individual that can be versatile and has a higher level of expertise in playing his instrument. In addition, there are a myriad of other
160 opportunities including sporting events, schools, colleges, rodeos, ballet, beauty pageants, theater, political rallies, comedies and even TV and radio. Lately, the internet has come into play with musical opportunities to showcase your talents and test market new arrangements and material. In order to make a living on a regular basis, you will need to know the many different types of music out there, play well, read music well, have an extensive song list in the style that you play, play by ear, sound good, be punctual, be polite, be prepared, enjoy yourself and be a team player. With the diversification of instruments and musical styles, there are an equally diverse amount of possible gigs. Do not limit your horizons by not trying out
161 other avenues that may present themselves. For example, if you're a pop band who can play the older big band stuff or early rock, you should market yourself both ways with separate promo kits for each. Whenever possible, pass out your business card to prospective clients, other musicians, bandleaders, promoters, agent and others associated with the business. Make them available at your gigs for your audience to take. This can be an important source of future business for you. You can tape an entire show, a segment of a show, or select parts of certain tunes to create your presentation. The tape will show how well you are able to get people up to dance, how you
162 emcee the affair and how well you can communicate with your audience during a performance. Just remember to periodically update your tapes if they contain current tunes to keep it timely. The single most important aspect of making a living as a musician is to be able to find work. Make a plan of all the people that you want to contact and talk to them. Promote your group or your individual talents relentlessly and after the bookings start to come in, continue to promote. After awhile the bookings will come to you but you will have to get to that point first. Don't delay promoting because you are saving up for that more powerful amp or you are learning the words to 100 additional songs. Start working now and
163 learn as you go. Managers are the ones who usually run the business part of your group. He handles the bookings, deals with the agencies and tries to get you gigs. His primary concern besides the welfare of your group is to help you to generate money. This management person should be out promoting your band, looking for possible gigs and creating opportunities for you to make money. Normally, managers work for a percentage of the amount of the booking but those figures may vary. He should book the gigs, you play them and if you are good enough, he gets more gigs. Look in various printed media for assistance in locating a manager. Try the phone book, newspapers, trade
164 papers and any other sources including other bands for a reference. Seek out the type of management that handles your kind of group. Get someone familiar with your musical venue and let them use their promotional skills to help to increase your income. Call them. If you don't make contact, they will never know that you are looking for help. Tell them what kind of music you play, what type of gigs you’ve had and where you would like to be. Be honest with them. If you are just starting out, tell them. They have to know and they will appreciate your honesty. Investigate what is expected of you by the person in charge during the gig. Work with them before, during and after
165 to make sure that all goes well. Follow the rules of your contract and those of the room that you are working. Be aware of what you are doing and give them their moneys worth. Maintain good relations with everyone involved. Show up dressed appropriately. Be aware of the sound level and adjust it if necessary. Like what you are doing and have fun. Time your tunes according to the atmosphere of the party.
Be A Working Musician/ Pop Star 13
If you do not ask, you cannot possibly know what is expected of you. There are certain gigs that will go according to a prearranged format and others that will take on a life of their own. Be aware of what is expected so that you won’t be surprised later. Stay in touch with the person in charge, because formats can change at a moment’s notice. Pay attention to what is happening. Follow the contract. Know the peculiarities of the room that you are playing. One example may be a gig in a V.F.W. Hall where the members expect the band to play "God Bless America" as the last song of the evening. If you do not know it, you do not get the gig. It can be as simple as that.
167 Make sure that your attire is appropriate for the gig that you are working. If it is semi-formal and a tuxedo is required, get one. If you are in a youth oriented club where ripped clothing is normal, dress accordingly. If the crowd wants to party, give it to them. You make or break the affair because you are the one controlling the emotions of all that are attending. Do what you were hired to do. Work it out prior to the gig. Read the audience and adjust your volume or tempo accordingly. Get involved in what you are doing. Be interested enough to do it well, have others enjoy what you are doing and enjoy it yourself as well. If the band
168 looks like they are having a good time, that effect will carry over to the audience and they will have a good time also. People in the crowd will hire you. Make a banner with your website name on it to hang behind your band. A professional musician is someone who is confident in their ability to do what he does, do what is needed and not get an attitude. Play by the rules of the game. You are there to entertain the audience not to be a pompous ass. Let them know that they are appreciated. Let's face it, if there was no audience, there would be no work for you. Do not smoke on stage unless it is all right to do so. Find out ahead of time. Pay attention to details. There is always something going on in
169 the room which may require social interplay between the band and the attendees. You should continue to promote your music before, during and after a gig. This can only result in increased bookings and subsequently increased revenues. Pass out business cards, have demo tapes available, put up a sign if possible. After the gig, mix with the people. There may be some referrals coming your way. Read your audience and react accordingly. Make the changes that your audience requests. It can only assist you in putting in a better performance. If all is going well, do not change anything. If you are not getting anywhere with the evening, find something that works and pick up the action. All humans are
170 subjected to a multitude of emotions some good and some bad. Try to keep your attitude on a level plane for fear of losing your cool by possibly blowing up at a customer. That can be an easy route to unemployment. Keep your act fresh. After you have played the same type of song over and over again for years, it gets more difficult each time to stay focused and perform at a high level. By all means, be what you need to be, what you want to be and get the job done. When you have the right attitude you have a better chance of acting appropriately in all situations. A good gig does not create itself. It has to be planned, nurtured and performed with enthusiasm, vitality and a certain
171 amount of spontaneity in order to inject life into your performance. When you know what is expected of you, you can create the desired effect to handle the task at hand. Only you the musician can create the effect. If you are hired to play background music, create it. If up tempo is required, create it. Whenever hired to entertain, do it - create it. Give pleasure and hold the interest of all involved. Find out what works and give all you can. Creating is merely another way for the musician to insure his future success for those that are not will not please their audience. Don't worry about it, you can make it happen. No excuses. Just do it. Create. Everything is relative as to how
172 successful you can be or feel that you need to be. Some people regularly make thousands of dollars for a single performance while others struggle to earn a hundred dollars a week. Realize where you fit in and strive to achieve that goal. It is entirely possible that you will need a second job to help to support yourself until you attain the position that you desire. You must continue to promote yourself at all times. Your agent will be able to get you some bookings but it is up to you to insure that you have enough work to keep you busy. A club or booking agent may hire you again but remember that connection was the result of prior promotion by you. Your success or failure is solely your own responsibility so create the kind of
173 life that you wish to live. Finally, if you really wanna make it, you have to play out in public as often as possible in the hopes that someone who has power in the biz sees you. If this means playing gigs for almost nothing, it might be worth it. Secondly, any good musician these days has a computer and some good software which enables him or her to create studio quality music in his room. Learn the art of computer music.
Be A Working Musician/ Pop Star 14
Be original enough to create your own music and your own venues to perform and market your music.
174 Go to the music merchandising trade show to get ideas on how to market your music. In a local market, you don’t really need an agent. You can manager yourself and save the commission fee. Figure out what makes you unique from everyone else then sell that point. Always look good because you’re a professional musician. If you’re the leader of a band and have a personality clash with one guy, find a replacement and fire him. You can play at: Private events Nightclubs Weddings
175 Caterers Party and event planners Nonprofits/ charities Hotel banquets High schools/ colleges Music festivals Cruise ships Fairs Casinos Go to radio, TV, music magazines, websites, etc., ask them to interview you or play your stuff. Find a book about promoting a website at #004-005 at the library and use it to promote your website. Find websites with your style of music and add yours to the mix. If you have fans, send them free t-shirts and bumper stickers.
176 Try my business book or go to #658 at the library to look for a book about branding/ brand marketing. Always be friendly. Be helpful. Help others trying to make it in the music biz. They’ll help you when you need a favor. No matter how good the music is, if the group appears tired and bored, the audience won’t like them. The emotional connection is what will sell your music. Stay healthy on the road.
Be A Working Musician/ Pop Star 15
177 If you're ever going to make it as a musician, you have to dedicate yourself fulltime even if it means living as a starving artist. Part-time musicians get comfortable with their day jobs and lose their intensity. Music is an arts field. Your talent equals the talent of hundreds of others. Your ability to make it over them is part luck, part hustle, part look. It’s not about sacrifice. The real question is do you love music so much that you don’t mind living in little dives to do it fulltime. If you’re in a band as opposed to being a solo musician, you all have to agree to dedicate yourself to the music. You need to find musicians with common goals. You have to spend as much time promoting yourself as you
178 spend creating music. The true test is live. Do you look like a cohesive band having fun? When you make mistakes, keep going. Have your procedure all in place before a show. Have the agreement that when something happens, the show keeps goin’ on. After a few weeks on the road, you get tired. Playing live is where you make or lose fans. They want to feel connected to you. You can’t do a tour if you’re drunk and stoned every night. Stay healthy. If you’re a greenhorn, don’t make the leap from nowhere to pop star. Do some local paying gigs first to see if you can handle being on stage. Can you handle listening to your own music? A lot of self-deluded wanna-be musicians can’t.
179 You need contacts to get gigs. You need a realistic mind not deluded by stupid TV shows making it look easy. If you can’t earn a living as a musician in your town, you have to move to a bigger town to get more gigs or go on tour for at least half the year. Touring without selling CDs could cost you money. If you don't have a record contract, you have to work hard to promote yourself, book shows, create music, etc. You can’t succeed unless you give it a shot. Get my money-making and ecommerce books. You might be able to come up with a side business that earns you some bread to tie you over until you
180 become a big star. Keep in touch with friends and others in the biz. Many people are afraid of success. They create a good demo then when a producer calls them, they can’t handle it. They sabotage the opportunity. Some don’t even call back. They are introverts or anti-social. They can create great music in a backroom by themselves but there’s no way in hell they’re ever gonna perform on stage and act like they’re enjoying it or come off as likeable in an interview. Some people are great artists in the true sense of the word but they can’t sell themselves in the pop culture sense but this is part of the business. I don’t think Bob Dylan or Bruce Springsteen are particularly sociable in the pop culture
181 sense. They look like aloof, moody artists. They were lucky. They made it despite this. Most people like this won’t. In the music biz if you’re not out there performing and touching bases with associates, you will be forgotten very quickly. When you release a new CD, send a copy around to all your business associates. Talk to people in the biz and listen to them. This is where you get opportunities. If you’re independent, don’t just put your CD on your website and list with one indie distributor website. Put it on as many as possible. It’s all exposure.
182 Try to be a friend but some people will not intuitively like you nor you them and they will not like your music so take it all in stride. Be professional but be a friend about it. Nobody likes a by the book professional. They want a personal relationship. Most music managers, publishers and producers say they don’t take unsolicited material but a lot of them can’t resist listening to the tapes they get anyway. That’s what a true artist does. He’s curious, looking for the next great sound. They all get swamped though. They got three hundred unlistened CDs laying around. The only rule is make it the best quality recording possible. Five songs is enough for someone to feel what you’re about.
183 When I was young, I thought music people were cool but now I know a lot are ordinary people, a lot of them are delusional and a lot of them are nutty to boot so don’t take liberties thinking some music mogul is cool if you approach him. Be professional. Build a relationship with everyone you come in contact with. Try to network. Be ready to explain who you are and what you do. Get a website with music clips on it. You must be able to handle rejection well without going nuts. Even though all the business books say be aggressive, you don’t barge on bigshot mogul and say I’m your next star. Nobody likes rude, cocky people.
184 Even if you can back it up, they still know you would be hell to work with, another prima donna. Be polite and kind. I’m not telling you not to waste postage sending out demos. You can send several a week but develop your own career. Build a website. Play live. The way it often works is you’re playing at a mid-sized venue, some agent sees you and signs you up but you have to get there first. Go to music conventions. When someone hands you a business card, write notes on the back of it and put them in your database. Call people personally to make them feel important. Think like a politician and act like one.
185 Read music magazines. See how they describe the new artists. Write down the clever sounding prose then try to use that style to describe yourself on your website. You have to be down to earth, speak plainly, not too poetic and certainly don’t talk in music lingo. Most fans are not in the music biz. Be accurate and specific. Tell people what your style is. Go easy on the hype. If you want to get interviewed by a music magazine or at least get a CD reviewed, send them your stuff. Whenever you talk to anyone, feel like you’re talking to your best friend. Be real. If you need employees, try out some of your dedicated fans. Give out or sell t-shirts with your band’s
186 website name on them. Buy little gifts for business associates, especially when you tour other countries. If you are approaching 30 years old, forget about the pop star route. You’re too old. You will not be a cute, sexy heart-throb plastered all over teen magazines. Your music will have to stand on its own.
Be a Working Musician/ Pop Star 16
Rejection is a normal part of the music biz simply because of the law of supply and demand. The demand for live music is not all that great and there are way too many bands for the relatively few gigs out there.
187 In music, it’s all about image. You are the product. Choose your image then make a professional promo kit around it. Kiss made it with a gimmick. Alice Cooper had an image of a weirdo playing with snakes, cutting baby dolls up on stage. You need something to make you unique and give you an edge. If it’s the music, great but the music is often not enough. My advice is to read a business book like mine to learn about marketing and promotion. Clarify your image, make a short vision statement that defines who you (your band) is and exactly what you do. You have to market hard and always be out there in the public eye to get known and stay in the milieu of what’s
188 happening around town. Get a business card made with your band’s website on it and simply go to live gigs, circulate around, talk to people but don’t come on too strong with handing out business cards. Talk to people first, get to know them, then when they say they’d like to check your band out, tell them you got a website or say you think you got a business card on you and hand it to them. If you go around handing out business cards, they will end up on the floor and you will feel bad when you see them there because you will feel that people don’t even have the courtesy to respect you but what do you expect? Handing out business cards cold turkey is like a high pressure salesman in a
189 cheap suit going around shaking eveybody’s hand trying to sell something. Read the networking section in my business book. It’s all about making friends in a smooth flow then after they get to know you, they give you a break. This is how it works. Nobody likes to be hijacked by an unknown entity who comes up out of nowhere handing you a business card. Previous experience tells them most unknowns aren’t as good as they think they are so these promoters and producers simply don’t want to waste their valuable time checking unknowns out. They have plenty to do already with their already established clients. This is why you have to develop the art of befriending people, of being a good guy, playing at benefits, etc. Somebody
190 made a comment that virtually all of the artists on the USA for Africa video in the 1980s went on to greater success. It’s the karma of the music biz. Don’t just be a punk-assed musician. Be a good person. This is the backdoor in. You play at a benefit for free. You meet some bigtimers playing there and some promoters. Some local bigshot is having a corporate party. He likes you and hires you for it. Somebody in the bigtime band hires you to fill in for the guy who just quit. Little by little, you get steady work. Most people in the entertainment industry are not stars so they help each other out. Help people out and ask for favors when you need them.
191 Chapter 2. The Music Biz Topics
The Legal Aspects of the Music Biz
The music biz is not a pseudo-hippiedippie thing where cool people hang out together united as artists of humanity making music to share with the people because they're such good, cool, happenin’, down home folk. At every level, the music biz is about money. First off, you need to make enough money to survive otherwise you can’t do it. Secondly, if you just make barely enough while some frivolous pop stars are making millions, you will get angry and bitter.
192 Thirdly, if you’re up there with the big timers, you will see that unless you’re one of the few rare, original musicmakers, music is mostly hype, packaging and decisions made by corporate suits not made by the musician who is often just a front person for a corporation making money. Get my business book or any business book at #650 to #659 at the library to learn how to run a business, you or your band and check out #343.710 or KE3986 or KF4291 at the library for books about the legal aspects of the music biz. I will state very broadly the major legal issues in the music biz. Copyright law is a very important ownership issue that covers everything from minors to co-creators to an individual writing music while in the
193 employ of a corporation or manager. In every case, get a clear contract stating who ones whatever music is created. Get it protected according to the copyright laws in your country. There are licensing rights where you allow others to sing (performing rights), broadcast (rights of broadcasters, retransmission rights) or record your song (recording rights) for a fee. When somebody writes a song that they don’t intend to record themselves, they usually make a deal with a music publisher to sell or license the song which could be complicated or simple. The simplest contract is the outright sale, you sell the song for a flat fee and that's it. A more complex contract would be to license the song to multiple artists and get a royalty fee for every CD they sell
194 with your song on it. Copyright infringement is generally a civil matter although it can be construed as criminal for wanton fraud. The sides either settle out of court or go to court to hash it out. It could be the theft of the “hook” or music of the song. For example, Huey Lewis and the News had a song out in the 1980s called I Wanna New Drug. They were approached by the makers of the movie Ghostbusters to write a song for the movie but they refused then several months later when the song Ghostbusters came out, they said that the backbeat was a rip-off of I Wanna New Drug and had a paper trail to prove that the Ghostbusters people were interested in it so they settled out of court.
195 Another case I saw was what I would call title theft and lyric theft. Some guy from the 1950s music scene wrote some song then 40 years later, one of the exNew Kids on the Block kids wrote a song and recorded it whereupon this guy sued him. The judge listened to both versions which had some common lyrics but concluded that the song was about a common simple love theme which was universal so he threw the case out of court. If you steal someone else’s music (words or music) or think that someone has stolen your music, check up on music copyright infringement law. The penalties are an injunction to cease performing or selling that music piece, monetary damages equal to the
196 defendant’s profits plus punitive damages and even jail time in some cases. As far as performing musicians go, if you get into a band, sign a contract upfront about what percentages of the profits you each get even if you’re just a garage band without a definite future. There are unions, agents and managers. You pay a union fee and in exchange, the music union helps you get gigs, collect money and resolve disputes. When you hire an agent or manager, even though he or she usually deals with the money, they are your employee. Sign a definite contract regarding money and promptly collect whatever money you’re due otherwise you will end up like Billy Joel whose manager spent all his money. Make up a detailed Personal
197 Management Agreement. If you get big in the biz, hire a lawyer to watch your manager so that you will have two vultures watching each other. Watch that they don’t get too cozy with each other because it will mean they’re working together to rip you, the musician, off. There are two types of live performance; Those performed within the union (American Federation of Musicians of the United States and Canada) which follow union rules. Non-union gigs which have no rules other than the ones you make up. The union gigs have all kinds of rules guaranteeing all the players (musician, promoter, manager) a certain percentage
198 of the take. There are copyright laws for recording your live performance and selling it. There are “morality” or “decency” laws for conduct while on stage. If you’re a travelling musician, you will have to get immigration papers to perform in other countries. Everybody wants a record contract with a major company. That’s the goal but quite often with the record contract, you’re signing your profits away. They cleverly have it rigged so you pay them back all their expenses before you start seeing profits and if you hit it big, they have you with a several CD deal for low royalties so you’re screwed. Essentially you sign your life away for
199 your chance at a big break which is to get manufactured and promoted by the suits. If you’re really smart, you will go indie, promote yourself, record your own CDs, etc. which is not easy in a business dominated by a few corporate giants who control access to most of the commercial airtime out there but if you go indie and get some public fanbase on your own, you will have leverage when the big boys come calling to package you with a record contract. A record contract is not about two artists creating a song. It’s big business. Have a legal mind on your side who will read the contract over and talk to you about it before you sign it. Then there’s music video bit, the ownership of the master recording bit,
200 the distribution agreement, the CD cover, offshoot rights like putting the music in a TV commercial, TV show or in a movie, selling t-shirts and other band products, how far will you go to promote your product based on what the suits tell you to do. The deal is that the suits set up a publicity tour for you but what if this includes demeaning appearances at shopping malls and appearances on kiddie TV shows? You must specify in your contract that you have the right to refuse to appear at venues you consider demeaning to your artistic image/vision. Because the music industry is a business, many bands set themselves as a group partnership or a corporation in some cases and operate as this for business reasons which is why you should read a business book and learn a bit about
201 business. Finally, pay your taxes because the tax people love to go after wealthy pop stars who they assume are more interested in music and decadent lifestyles than taxes and that’s how they get ‘em like they got Willie. There’s more to music than music. It’s a business. The second you start to trust people and think all you have to do is play gigs and make records and everything will be alright is the second one of your business asociates will steal your money then the tax man will come calling with an outstretched hand. Don’t you ever forget it. hollywoodnetwork.com/law keepmusiccoming.com, copyrights in music. laig.com/law/entlaw
To make it as a musician, you should assemble a promo kit to give the impression that you are able to handle the types of gigs that you say you can. There are several different types of promotional needs which will vary from group to group, or different aspects of the business. In many instances you may only need to supply a demo tape, while in others a live audition will be required. In those instances, a full promo kit will probably not be necessary. In some of the larger metropolitan areas, it may be necessary to supply a video of your group since agents do not have the
203 time to go to see all the various people performing in their area. If a potential client asks for a picture and a song list, provide one. If not, chances are that you will not get the job. Your promo kit should at least contain the following: a cover letter a demo tape a picture of your group possibly a video or dvd a song list information as to how you can be contacted. website name Later on you should also include: a band biography a listing of previous work as a reference
204 a video tape of your performance if needed. Do not to forget to include a cover letter as this adds a little professionalism to how you are judged by the prospective client. Also get a professional looking binder to package it all in with a logo of your group on the front. This is how the pros market themselves. You should have some quality pictures of yourself (if you will work as a single) or your group in order to project the image that you will be presenting. Figure out what part of the market will be your target area and tailor your photos to that segment. Most photos are done in black and white simply because it is easier to reprint them. 8x10 shots are standard with the name of the group and phone number along the bottom.
205 Select a listing of songs grouped by category with the original artists name. A complete list also in the same format.
Press Kit Websites
how-to.com/operations/press-kit.htm absolutewrite.com/novels/press_ kit.htm inbox.com/rl/te31_sr-1/press-kitexamples.html imakenews.com/presskit/e_article00004 0003.cfm topten.org/public/af/af56.html, the top 10 most important documents to include in your press kit docs.yahoo.com/docs/pr/presskit/ internet.com/mediakit/ tonyarae.com, your press kit is your calling card dummies.com/howto/content/constructing-a-press-kit.html
206 ezinearticles.com, how to make a great press kit
Electronic Press Kit/E-Press Kit/EPK
Rather than a hard copy press kit, some people make up a press kit entirely on a video-tape. A musical group might introduce themselves, explain who they are, include a few stills of recent press releases and photographs, play a live song or two, include a few audio songs, provide a list of upcoming concert dates and leave your contact address at the end. You can send this around to media and possible investors as a video-tape, CDRom or DVD or put it in digital format
207 such that you can download it to interested people over the internet either through e-mail when they request it or have an icon on your website that people can click onto to get it downloaded.
Music Video Festivals
There are music video festivals out there that you can submit your music video to in order to try to get some buzz. It’s another marketing tool. Type the term music video festival into search engines.
Performance Anxiety, Stage Fright
This type of anxiety afflicts musicians,
208 actors, athletes, performing artists, teachers, people making presentations, people taking tests, managers and leaders in business and anyone who has to speak in public. aapb.org/i4a/pages/index.cfm?pageid=3 729, biofeedback. abc.net.au/programsales/s1409370.htm abc.net.au/tv/secondopinion/txt/s140145 9.htm abel.hive.no/trumpet/tpin/performance_a nxiety.html ahcenter.com/manhattan-nyhypnosis/performance.php ajp.psychiatryonline.org/cgi/content/abst ract/148/5/598 amazon.com, overcoming performance anxiety, by rod farnbach and eversley farnbach. amazon.com, performance anxiety, by eric maisel. amazon.com, performance anxiety:
209 overcoming your fear in the workplace, social situations, interpersonal communications, the performing arts, by mitchell w. robin and rochelle balter. anxietycoach.com/stagefright_list.htm articlesfactory.com/articles/selfhelp/performance-anxiety.html athleticinsight.com/vol1iss2/cognitive_b ehavioral_anxiety.htm athleticinsight.com/vol1iss2/psychoanal ytic_anxiety.htm badri.blogspot.com/2005/03/performanc e-anxiety.html balletbc.com/ballet-diary/residency/astreetcar-nameddesire/2006/03/performance-anxiety.asp bampfa.berkeley.edu:16080/pfa_progra ms/performance_anxiety bcr.com/equipment/product_reviews/con cord_web_performance_anxiety_200007 01785.htm blogs.healthcentral.com/dietexercise/the-average-athlete-
210 rules/performance-anxiety-is-it-really-asyndrome-2006-04-06 bodymap.org/articles/artperfanxiety.html bodymap.org/articles/artperformanceanx iety.html brianmac.demon.co.uk/companx.htm careerpharm.com/seeker/resources/perfo rmance-angst.cfm celticharper.com/bananas.html changethatsrightnow.com/fear-of-publicspeaking.asp?sdid=6508:1570 changethatsrightnow.com/performanceanxiety.asp charmcityharp.org/anxiety.htm classifiedclub.com/mall/performanceanx iety.html davidleisner.com/noname.html dummies.com/wileycda/dummiesarticle/i d-2017,subcat-arts.html eeshop.unl.edu/anxiety.html emich.edu/music/wpnew/anxiety.html engr.unl.edu/eeshop/anxiety.html ethanwiner.com/betablox.html
211 findarticles.com/p/articles/mi_m2493/is_ 3_53/ai_111507037, music anxiety. findarticles.com/p/articles/mi_m2493/is_ 3_54/ai_n8579134 fiveoclockclub.com/articles/1997/06-97perfanxiety.html goaskalice.columbia.edu/0855.html gosportslink.com/en/benefits.htm governmentleader.com/issues/1_5/featur es/107-1.html govexec.com/features/0398s2.htm guitarnoise.com/article.php?id=453 head-cleaners.com/perfkids.html headcleaners.com/performanceanxietytapes.h tml healthboards.com/boards/showthread.ph p?t=267231&highlight=xanax hinduwebsite.com/selfdevt/performance _anxiety.htm hsuyun.org/dharma/zbohy/literature/essa ys/chs/anxiety.html hypnosisdownloads.com/downloads/pho
212 bias_fears/performance-anxiety.html hypnosisnetwork.com/hypnosis/public_s peaking.php hypnosisnetwork.com/hypnosis/public_s peaking.php?kbid=1028 idrs.colorado.edu/publications/journal/jn l18/jnl18.goodman.taming.html idrs.org/publications/journal/jnl18/jnl18. goodman.taming.html irenejackson.com/anxiety.html kuro5hin.org/story/2004/6/20/05949/681 4 lifefirst.com/cperf.htm lydiandominant.com/studio/performance _anxiety.html mental-healthmatters.com/articles/article.php?artid=47 0 merck.com/mmhe/sec07/ch100/ch100a.h tml, anxiety enhances performance. momsteam.com/alpha/features/performa nce_anxiety.shtml mostlywind.co.uk/performance_anxiety.
213 html musicbooksplus.com/performanceanxiety-p-6749.html nosweatspeaking.com ohoh.essortment.com/jobperformance_ro qt.htm panic-anxiety.com/performanceanxiety.htm panicdisorder.about.com/b/a/162340.htm pe2000.com/performance_anxiety.htm perfeng.com/perfanx.htm performanceanxiety.com performance-anxiety.com performancecoaching.co.za performanceinstitute.com performanceinstitute.com/sports.htm playlab.uconn.edu/58anx.htm psychologycampus.com/sportspsychology/ roosevelt.edu/counseling/pdfs/newsletter spring2005.pdf#search='performance%2 0anxiety' scena.org/lsm/sm6-1/santetrac-en.html
214 scholar.lib.vt.edu/theses/available/etd06132001-125529 scholar.lib.vt.edu/theses/available/etd06132001125529/unrestricted/02chapter_1.pdf#se arch='performance%20anxiety' scholar.lib.vt.edu/theses/available/etd06132001125529/unrestricted/01prelim_pages.pdf #search='performance%20anxiety' sciencecases.org/crew_anxiety/crew_anx iety_notes.asp social-anxiety.com social-anxiety.com/area-socialanxiety.html sportsmedicine.about.com/b/a/057293.ht m sportsmedicine.about.com/cs/sport_psyc h/a/aa010603a.htm stringsmagazine.com/issues/strings113/p ractmusic.html testsymptomsathome.com/sym_performa nce.asp
215 themedia.co.za/article.aspx?articleid=31 547&area=/media_columnistsoffline timsheppard.co.uk/story/articles/stagefri ght.html treasuryandrisk.com/issues/2005_09/cor porate_governance/452-1.html une.edu.au/cc/services/5_perform_well.p df uwec.edu/counsel/pubs/musicanxiety.ht m uwec.edu/counsel/pubs/musicanxiety.ht m workingforchange.com/article.cfm?itemi d=20364 yeodoug.com/resources/faq/faq_text/anx iety.html
Get Gigs/ Find Gigs
216 gigmor.com, matches musicians and bands gigsalad.com aloud.com, find concert tickets, music tickets, gig tickets and more amazon.com, book called “making money making music: the musician's guide to cover gigs” by quint randle. bbc.co.uk bandsforhireusa.com ehow.com, how to find music gigs on craigslist. en.wikipedia.org/wiki/gig_(musical_perf ormance) ents24.com, entertainment listings and information encompassing live music, clubbing, cinema, theatre, arts and standup comedy across the uk. gigsalad.com festivalnet.com/music_festivals.html gig-events-guide.co.uk iwritethemusic.com/musicgigs.html jaybees.com.au, jaybees entertainment
217 and gig guide madline.com/music/regular.html, madison music online regular gigs list musicforte.com/gigs music-jobs.com myspace.com/gigsmusic nationalgigguide.com, british newmusicstrategies.com/2008/08/17/ho w-can-i-put-my-gigs-online, how can i put my gigs online? news.bbc.co.uk/1/hi/entertainment/music onlinegigs.com promoters rhapsody.com/gigs rocksite.info, buy usa rock music concert and tour tickets, us rock music gigs. sonicbids.com sonicbids.net, connects bands & music promoters sonicbidz.com, connects bands & managers.
218 Setting up Your Own Gig
You could be the musician setting your own gig or a manager setting up the gig for your act. You need upfront money to put it together, have to refine the act for the show and rent a venue to hold it at. You might have to hire some crew from inside the venue to control the lights, act as security, etc. Most places have their own crews that you have to hire. In addition, you need people to move your gear in if it’s a band, set it up, coordinate your own light show, etc. They all expect to be paid at the show before it even starts. They are all wise to people skipping out on them. If you don’t pay, they won’t let you do the show. They will call the cops and kick you out for trespassing.
219 For some venues, there’s a base price then extras if you want extra services like security, light service, ushers, etc. The organizer has to plan the show so that it’s ready for the show or opening night and it doesn’t end up costing more money than you will take in, even with a full house. You have to focus on the bottom line, making a profit. You have to keep your performers and work crew happy. You do this by paying them and making them feel appreciated. Make your show tight. Know exactly what you will do. Even if it’s a music show and you have your list of songs to play, a lot of musicians still write a script beyond this of what they will say between songs which they will use as a
220 guide in their memory during the show. In other words, they have their ad-libs all planned out before the show. The first time you produce a show, you will encounter a lot of minor screw-ups but as you continue to do them, you will learn how they work and what’s important. Make the contract with the venue specific. Get all the details in writings like what time they want you out, if you need to buy liability insurance for the event and if you’re responsible for the trash or damage caused by the audience. A lot of business will be conducted over the phone. You will have to stay in touch with the venue owner right up until the event to keep each other informed of adjustments and changes.
221 Book your show at the venue at least two months before you do it to give you time to advertise and get some publicity. It takes time to put a show together and set up effective publicity. Shows and concerts are generally attended better in the summer. People are in a more leisurely mood then even though there will be competition from other entertainment venues. On the other hand, people want to get out more in the winter. The truth is that a good act or show will do well anytime as long as it’s not oversaturated in the marketplace. In the summer, you could go cheap with an outdoor or tent show. Try to avoid a conflict like if there’s
222 another big show the same night as yours, some people might go to that one. Check with the local arts council and musician’s union to find an uncrowded date for your show. Most events arc scheduled after seven o’clock and before nine o’clock unless it’s a show that is expected to go late. Try to rent a place that’s the right size for how many people you expect to show up. If you rent too big of a place, it will be more expensive than a smaller place. If you rent too small a place, you will have to turn away potential ticket sales because there are legal seating capacity limits in every public building due to fire and safety regulations. It’s difficult to accurately predict the size of the audience. A lot of people are
223 off. You don’t know when the public thinks you’re hot or not. Just the best you can. Location is everything. You need a place near the main drag that’s easy to find. I remember onetime some animal rights group was holding a big social event about five miles from downtown and you had to go down some dirt road to get there. You might want security at the door to frisk people. They do this for rap concerts. You might want a security guard out in the parking lot to watch over the cars. Speaking of parking, is there enough? What about the stage size? Will it be enough to perform your show?
224 Do a sound and light check before the show. What equipment will the venue provide and what will you bring? What is the dressing room like? What about bathrooms, a room to store your stuff and lock it up, a litchenette to cook up a snack, etc. Read my business book about publicity. Get some promotional materials, posters, tickets, etc. Have a way to sell your tickets in advance. Advertise on the radio, in the newspapers, in local magazines and on TV if you can afford it. Save your big promotional push for about ten days before the show. You often design your own posters on a computer and event print out but it will
225 probably be easier to take your master copy to the print shop to get a bunch printed up there. Be careful where you put your posters. It’s illegal to tack them on lampposts in some areas. Try to arrange a radio and/or TV interview on the day before or on the day of the event. Local news shows sometimes do segments on local events. Don’t overcharge for tickets. Charge roughly the same as other similar shows. Get set up with the local ticket outlets and maybe the ticket office of the venue itself. The tickets themselves should look reasonably good, durable enough to be carried in a wallet for a week or two and should be hard to counterfeit. With
226 color printers and computer scanners, people try to counterfeit anything. You can make your own tickets on the computer or buy them from a business products or stationary store. Depending on the venue, you can possibly make money from side ventures like food, concessions and sales of CDs, t-shirts, etc. Make up a budget. Put all your expenses on one side then after the show put your take on the other and decide if it was profitable enough to do again. You will need a trustworthy person at the door to sell tickets. You will have to give them change to get them started. At the end of the night, expect a form from them with the initial cash in till plus cash for the exact number of tickets sold.
227 This is why you have to give an exact number of tickets but the way dishonest door people get around this is that they don’t give tickets to some people who pay or they simply pick up the discarded tickets on the floor in the area where people enter after they pay. Cash can corrupt anyone. I used to work the door at bars in my younger days. When you’re dealing with all that cash and nobody is looking, it’s very easy to hide $20 or even $50 in your sock or underwear. Don’t forget to provide food and drinks for your showmates and crew, especially if it’s a long show. Some of your showmates and crew will also expect two or more free tickets for their friends.
228 Music Insurance for Music Professionals
Musicians, managers, promoters, etc. buy insurance on the instruments and equipment. Another type of insurance is insurance for an event like if you’re scheduled to do an outdoor gig and there’s a storm, a power failure, etc. Health insurance is in another section. hedinc.com musicnomad.com/support_your_music/i nsurance_for_musicians musicproinsurance.com musicagencyinc.com ascap.com/benefits/musicpro.html mechanicalmusicinsurance.com csicoverage.com, event insurance. allianzmusicalinsurance.co.uk covernotes.co.uk, specialist business insurance for musical instrument
229 retailers, wholesalers, manufacturers andersongroup.us/musical-instrumentinsurance.html cmiinsurance.com, entertainment insurance for live events. eandl.co.uk/musical-instrumentinsurance musicguard.co.uk victorcknight.co.uk electricbluesclub.co.uk/insurance.html artinsurer.com/music-equipmentinsurance.php clarionins.com/getaquote.aspx pcmrisksolutions.com/html/music_indus try.html, music insurance; concert insurance; music production insurance covering all areas of insurance for music events and productions. musical-insure.co.uk news-fromnewspapers.com/en/general/2005/06/15/ music_instrument_insurance.html insurance.suite101.com/article.cfm/buy_
231 Chapter 3. Independent Musician/ Do it Yourself
Selling Music Online 1
Find a middle ground between uniqueness and clone, between art and business. Remember, you’re a musician not a philosopher. Music is the realm of entertainment. You’re there to entertainment, not to dazzle people with your uniqueness. When I used to work in bars in my younger days, I noticed that the people didn’t care for bands trying out their original music on them. They wanted something they were familiar with which is the stuff on the current pop charts, they wanted to catch
232 a buzz and have a few dances and that was it. They didn’t care about some original band creating a great new sound. Most of the time, unless it’s really cool and upbeat, they just don’t care. It’s just music, the background of most people’s lives. In fact, the older a person gets, the less they listen. Most people my age rarely listen to music anymore in their leisure time. No matter how unique you are or want to be, you have to stick with certain industry standards because that’s partially the way the customer has been conditioned. It’s what he wants. He wants a three and a half to five minute song, twelve minutes for a dance track, about 10-12 songs on the CD with at least 45 minutes of time at no more
233 than $15. They want the CD packaged to look good. Music buyers are impulse buyers. The CD cover has to look cool. Go to mp3.com Digital Audio Music (DAM) for info about designing covers. Creating a CD involves recording music, often different instruments and the voice at different times then superimposing them on top of each other as well as adding extra sounds and mixing it for tone, loudness, compression, etc. Mastering is a process you can learn yourself if you have the proper digital equipment but if you’re interested in going professional, hire a mixing or master engineer to take your raw recording and fix it up his or her way. Even though most things are now
234 recorded via digital recording units, there are plenty of used four track cassette recorders on the market being sold through used musical instrument stores, over the internet and other places that can serve for recording equipment for now. Have good text on the cover, a good CD name, good pictures, etc. Include the lyrics on a few printed pages or on the inside cover. If you’re an unknown, you need a good graphic design on the cover in order to appeal to people’s impulses. Packaging is a big deal, especially since you are competing with thousands of other CDs out there. When you sell online, your music will be represented graphically both on your website and on music portal websites so you have to present it well in these two venues.
235 You can design your own CD covers on your own computer with the right software then either print them up yourself if you have a laser color printer or take it to a commercial printer. Most of the cost is for the set-up. After that, the price of printing 100 or 1000 is negligible. It’s the set-up that costs a lot of money upfront. Even though MP3 players are now on the market, most people still use CDs and cassettes. Some people, like nightclub djs, even want vinyl records. If you want to sell product, you have to cater to them all. The cheapest way to press/duplicate CDs is to burn a few hundred or so on your own CD burning machine, buy a CD duplicating machine that can probably do about four at a time for a reasonably
236 priced one or get a duplicating service to do it. Look up CD and tape duplicators in your local Yellow Pages and in ads in your local music newspaper. Some will even advance you some credit but all will want some money upfront. If you’re new to the business, start out at getting a thousand pressed at a time. Your job is to sell them just like a fruit vendor sells bananas. It’s business. You need a barcode on your Cds if selling them retail. Get it through the Uniform Code Council, uc-council.org at a onetime cost of about $300.
Selling Music Online 2
237 The advantage of selling music online is for both the musician and the music lover. It’s tough for all musicians out there, except for the few flukey flakes who get manufactured as pop stars, to even be heard much less make a living from music but the internet has given them an outlet to present their music to the world provided they promote themselves. Musicians don’t have to be so dependent on the big break with the big record label anymore although they still want the big contract and music connoisseurs can sit back at home, read reviews online then sample the music and if they like it, they can pay a few bucks by credit card and download it immediately. If people don’t want to download music or don’t have the technology, that’s fine too. They can listen to the music online,
238 transfer the money either online or through snail mail and the musician will send the individual the CD. This method of music sales is called direct distribution and it gives the independent musician a chance to earn a living through his art. The internet will give you the means to set up a website and let the world come visit to hear your music and check you out but unlike the mainstream music industry where they can sell just about anything to the mainstream pop crowd of young people by pummeling it over the airwaves and saying it’s cool, if you’re an indie selling over the internet, your potential crowd is generally older music connoisseurs looking for good music. If you’re just a gimmick band and your
239 music ain’t very good, it won’t sell, case closed but on the other hand, if you’re good, the word will spread by word of mouth and sooner or later someone will approach you with a record contract for a major label. People still like to browse at CD stores which is a good thing, to have a central place where a bunch of musicians’ products are but the problem with this is that there is often only room for the few mainstream artists on the pop charts but this is changing too. There are online websites sometimes called online music portal services which are venues for a bunch of alternative and indie musicians to showcase their stuff, kinda like shopping malls full of musicians plugging their wares with a bunch of links to all their individual websites.
240 These are popular with local and regional music newspapers, magazines and their websites. As a musician promoting your music, you have to get listed on as many of these as possible, particularly the specialty ones that cater to your category of music (jazz, pop, hip-hop, country, etc.). Figure out what category you fit into, pick a successful group that matches your style then dig up whatever websites they’re profiled on and try to get profiled there too. Load their name into search engines and go from there in copying them and stealing their ideas. Even if you think your music is unique and defies categorization, you have to play this game of fitting into categories,
241 at least until you develop a fanbase, if you want to get exposure. The exact opposite of the artist who thinks he’s unique is the clone, the opportunity musician. He looks at current CD sales and what’s being downloaded most then simply copies the style by creating his own similar music to this popular stuff and selling it. This is clone marketing, the exact same thing they do in the business world with products. They steal each other’s good ideas. It’s perfectly legal as long as it’s not too direct a rip-off. Keep it a bit different. Just use the general idea. Whereas in the past, it was a headache for any musician anywhere to go to one of the few meccas of music to try to make it (Los Angeles, Nashville, New York, Toronto), nowadays, a musician
242 can stay home and hawk his music and if some bigtimer comes across it and likes it, he will go to the musician and make a deal with him or her rather than the old way which was a bunch of starving musicians living in these big cities all looking for a break with the same few major labels. Over and above music, a lot of musicians personalize their websites with a little newsletter, blog or diary about their lives and include logistical information such as tour dates. You have to package yourself up to look good just like any product in business. There was a good documentary about the Grateful Dead on some TV show that showcased their ups and downs until they hit on a great idea about 25 or so years ago when everybody else was dependent on the record companies.
243 They said screw ‘em, went traveling on the road, playing gigs, making their own records, selling them through the chain stores directly and developed a line of merchandise to go along with their image like t-shirts, headbands, etc. They rarely made it on mainstream radio but made a decent living nonetheless. Still it was no cakewalk. Except for a few pop stars who fluke out, the life of a musician is not easy. You have to love it to do it, just like anything I guess. The Dead were the pioneers of the independent musician. One dead website is dead.net. There are more. Learn from them. In the music industry at large, it’s often not the best musicians that make it but the ones that look good, with a gimmick
244 who know somebody in the business or their manager knows somebody who packages them up. When you are signed to a record company, all the advances and expenses you make recording your album are taken off the top by the record company before you reap any money for yourself. Promotion costs a lot of money. Record companies are not stupid. They have been in business for years before you came along. They know how to play hungry, naïve musicians and rip them off by claiming you still owe them for expenses. At least with online sales, you have some control of your own destiny. If they offer you deal, you will have some leverage with them.
245 There are ways to advertise your music online. You do it just like any business would as discussed in my business book but the best way is still through word of mouth, often stemming from a few good website CD reviews which start the ball rolling. The best way to go is to try to get a CD distribution deal with a major label or directly through the music stores in your home country then in foreign countries but have a strong online presence for potential sales worldwide through the internet. Only a few major pop stars get good media coverage worldwide so unless you’re there, you have to sell yourself any way you can. Use a user-friendly online payment service to handle all your financial
246 transactions for a low percentage fee to keep it simple for you such that you can focus more time on making and marketing music. You will have to learn how to convert your music to a digital form for online distribution or get a geek friend to do it for you. The bottom line, in my opinion, is to spend most of your time creating good music. The technology part of it should be something minor that you do, kinda like a writer who learns how to use a word processing program. It’s just a means to the end which is to write good stuff. If you get good at recording your own music and promiting it through your website as an indie, why not do what all the big-time musicians eventually do.
247 They start signing their own talent under their own label, producing it and promoting it for a percentage cut of the profits over and above expenses. You get the expenses too because you’re providing all the services. You become another record label taking on new talent. It’s very easy to get new artists since everybody is looking for a record deal. Just put the word out. They will be sending tapes left and right. On the other hand, if your selfpromotion goes well, a big record label might come calling offering you a deal. If you don’t like the logistics end of the music-making business, this might be the simplest way to go, focus on your music while they focus on publicity and paperwork.
248 Marketing Music 1
Music is the product. Create it. Package it up in a cool looking CD cover. Make up a press/promo kit. Make up a website. Get listed on major music portal websites and search engines. Market yourself/your band online through online radio stations, newsgroups, chatrooms, media websites and link to other websites. Market yourself offline by playing wherever you can and trying to get on TV and radio to either or both play and be interviewed. If you make it as a pop star, other people do most of the marketing for you. If you’re by yourself, you have to do it all.
249 Like the old country song says, I never promised you a rose garden. The music industry is cute for the few people who get manufactured as teen idols but everybody else has to work really hard to make it. Musicians in the music industry cannot be introverts. You have to get out there in front of the public to perform, perform, perform and develop some kind of sexy or sassy image about yourself that gets you noticed. Beyond that, you can’t just be a bohemian musician thinking the future will take care of it itself somehow. You have to be a sales person, business person and marketer. Lots of musicians live the typical musician lifestyle. They get average
250 gigs, make a livable pay cheque, drink, get high, get laid, eat greasy foods after their gigs, etc. so they live this way for 10 to 20 years which is fine when you’re young and running with life but at some point, you will either get tired of this lifestyle or your health and/or public appeal will go somewhat then you will be stuck without a gig. Save some money now. Run yourself as a business. And as I say in my business book, the one major determinant that separates the successful business people from the failures is your ability to get along with people; cohorts, band mates, hired guns, agents, promoters, media hosts and, of course, the fans/customers. The art of promotion, publicity and advertising are the same regardless of the venue, either conventional business or the music biz, offline and online. The
251 means are the same as discussed in my business book. You have to get positive attention for your band and your music by being out there at events, setting up concerts, playing at charity events, appearing on local media shows, giving away band tshirts, etc. and you have to do the rights things online to give your website some visibility like get listed on search engines at the very least. Anything you can think of that constitutes attention from people is publicity. For a musician, besides merchandising which is trying to sell mugs, dope pipes, screensavers, mousepads, school bags, lunch buckets, baseball caps, sports bottles, address books, bookmarks, calendars, flags, car deodorants, puzzles, windbreakers and tshirts imprinted with your website on it,
252 it’s all about playing live. The paradox of playing live is that the more you play live, the more popular you get and the more the media (TV, radio, newspapers) want to interview you or get you on their shows. Your cache to them is the reputation you’ve developed by playing live. The more you play live, provided you’re good, the more popular you get and the more media exposure you get. CBC Radio’s show Definitely Not the Opera, cbc.ca/dnto, did a piece about introverted musicians who sold their music online but never played live. Some were able to sell some CDs but it was nowhere near the bands who played live all the time. Music is a public gig. Even a writer,
253 which is a supposedly private gig, has to get out there and promote his stuff, particularly if he’s selling fiction, unlike nonfiction practical books which can often sell themselves but as far as fiction goes, no way. You have to promote it. If you want to break live playing down, the first venue you think of is the nightclub. There are roughly two types: Mainstream. Quirky. The mainstream clubs want you to play top 40 stuff straight out. The only way you can make it big there is if you have one or two original hit songs that get radio airplay that you can mix in with the top 40. The money deal is often that you get 50% of the cover charges taken in.
254 You can earn a living playing top 40 hits for drunk working people to dance to in order to forget about their jobs for awhile but it ain’t a great venue to sell CDs simply because they don’t really care about the music all that much. Most musicians have contempt for playing top 40 stuff to drunks. They want to play their own music. This is where the money is anyway, to create your own music and sell it as opposed to paying royalties when you play and/or record somebody else’s songs which you’re technically spozed to do although very few local bands do. The quirky, alternative, offbeat, folksy clubs that let you do whatever you want are the best bet for true musicians. They will try you out at least once. Beyond playing at nightclubs, try to play
255 at large outdoor concert venues like folk fests, at fairs, weddings, banquets, meetings, free concerts sponsored by a radio station or the local government, anywhere that will get you exposure from the average mainstream crowd as opposed to the drunks at the bar. Hire yourself out to play anywhere for a reasonable fee. As an offshoot, you will sell some CDs and build a reputation. Offer to play at charitable events. Ally yourself with a charity and play at their functions for free. You might get on TV. This would be great publicity. They say that all the musicians who sang on the original USA for Africa video went on to bigger and better success. If you’re a local, regional or even a national band and you can write a patriotic song that honors a certain area
256 or even your country, this could put you in the stratosphere. How about Lee Greenwood’s Proud to be an American, Springstein’s Born in the USA, Catherine McKinnon’s Farewell to Nova Scotia, Paul McCartney’s Mull of Kintyre or John Mellencamp’s Ain’t that America? Marketing a music CD is not quite like marketing a widget because you’re marketing yourself to entertain and inspire people which is considerably something more personal and emotional than selling widgets. You’re selling the customer a temporary feeling of easy-breezy coolness. That’s what it comes down to. Quite frankly, I haven’t bought a CD in over twenty years but I’m different from the average person. I’m purposely anti-pop culture. I think it has destroyed the toughness
257 and moral fiber of western society. I listen to music but the music I listen to was almost all created before 1990. It’s all I need. Most of the newer stuff is crap to me and I can’t be bothered sifting through the crud to find a gem. I respect true artists but everybody thinks they’re a true artist and at my age, the mid-forties, it’s really about my own game of life not wasting my time or money on some musician trying to sell me a feeling. I have a standard of life inside of me. Music won’t phase it one way or another. My point is to get real. Unless you really believe in this stuff, move onto a practical field. People want to see somebody they like, somebody they can relate to who makes them feel good which is why most people buy records, because they like the
258 musician. They think he, she or the band are cool. Some musicians are introverts. They never play live. They either get mainstream airplay or market themselves online but in today’s world, anyone with any guts has got to play live as often as they can. This is the only way people get to see you and get to know you. From a purely business point of view, create a good website and promote it any way you can; through bumper stickers, music portal websites, advertising, on tshirts, at live gigs, etc. Refer to my business books for the basics of website development and internet marketing. Your website should have some photos of you, a little story about yourself, your
259 schedule of live gigs, some audio and video clips of your music, an order form, merchant credit card status, possibly a financial transaction service like paypal.com to process your orders, some merchandising products like logo t-shirts and maybe a chatroom for music fans to get on and talk to each other. Like I say in my business book, you need interesting stuff over and above just promoting your stuff in order to attract visitors. Try to become an informative and social portal for your category of music and market your music as an afterthought to this. It’s alright to allow other musicians to advertise on your site. You could even charge them for their ads. Exchange links with related musical websites.
260 If you’re a jazz band and your name is Deuces, you could have two domain names that both lead to the same website, deuces.com and jazzuniverse.com. Your website is both a promotion for your band and a central spot for jazz info and music. Have a recording of you playing live. You need this video streaming feature on your website. Sometimes go on live and talk to people through a web cam. You need broadcast software and a web cam. Try to get on internet radio stations. Answer all e-mails promptly. Answering e-mails creates friendship with your fans. Ask them nicely to promote your stuff by telling their
261 friends about it. Continue to expand your catalog of music and let the fans know about it. Make a Christmas CD. Make a good video and try to get it on mainstream music TV. Try to get a good manager who can book you for live gigs worldwide. Fans like to give and receive feedback. Ask them for ideas and use them. Offer fans free CDs if they will help you translate your website into other languages like Spanish, French, Japanese and German, the languages where people buy most products. Get on as many of the big music portal sites as possible like mp3.com. Most let
262 you on their website for free and pay you if someone downloads your music but on the other hand, if you have money, you can pay to get a premium ranking or extra advertising. Make the website simple to use and professional looking. The more amateurish it looks, the more people will think you’re a flunkie and move on. Submit your website to search engines using key words like jazz music, punk rock music, rap music, etc. Don’t use a hardsell. Be a good guy providing interesting information about music. The sales pitch is almost an afterthought near the end of your website. Have a contest like a song writing contest.
263 Once you have a mailing list of e-mail addresses, you can send your customer’s details about your live gigs, discount coupons, etc. It’s best to do this in a solicited as opposed to an unsolicited manner. Have a feature on your website which the visitor can click on if he wants to receive occasional e-mails from you regarding your music and music in general. Call it your music newsletter if you want. You send out a general e-mail newsletter monthly regarding your category of music and in between your content, you slip in promotions about your band. Some people who have these e-mail newsletters don’t even say who the source is. They present it as a general
264 newsletter but surreptiously market themselves in the content. Keep the music newsletter short and sweet. Include the live gig schedules of the bands in your genre of music. This and a few photos should eat up almost enough space to make it a worthy looking newsletter. Make up videos for some of your music that you play on your website. Cross publicize all the time. Advertise your live gigs on your website. Put a big banner up at your live gigs promoting your website.
Marketing Music 2
To keep it simple, think of two ways to
265 market your music; Online. Offline, real world. Within online marketing, you have your own website then you have all the stuff out there in cyberspace through which you can promote it, mainly through: Search engines. Music portal sites. Web radio interviews. Talking about yourself on chatrooms and newsgroups. Having your own newsgroups and chatrooms on your website. Place small ads offering free, cool music
266 at your website on musicboards.com and related portal websites. Create a music community at your website with information, chat room, news group plus answer all your e-mails personally or get your ten year old son or daughter to do it. As I discuss in my business book, even though it sounds kind of hokey, media of all kinds (mainstream, your demographic category of some genre of music, internet media) need content to fill themselves up to present to the public. If you’re assertive in your marketing efforts, you will make up a press release when you release a new CD and send it around to relevant media like music magazines, radio stations, newspapers and TV channels where you will be be playing in an attempt to get interviewed
267 for either an article or a spot on the local news. Offer to play live on the local news. It might get you the free publicity of the interview. Offer to write articles for music publications both on and offline and at the end, put in the name of your music website. Some internet radio stations will play your content if you submit it to them, some will be willing to interview you or feature you and some might even give you your own show to fill up time if you’re original and wacky enough. This would be a great opportunity to promote your music, by hosting a radio show or better still, start your own internet radio station and promote
268 yourself through it. Internet radio stations often sell banner advertising and have audio ads like offline radio stations. The major department stores and major retail websites like cdnow.com and amazon.com usually buy 100s of different CD titles from the big record labels in one shot but independents can approach them too, offer your CD in a professional package in a specific category shrink wrapped and they might carry it. They buy CDs directly from artists who are on the pop charts but not signed with any label. Sell through music portal websites that cater to indie musicians.
269 Try selling through internet auctions like ebay.com Once you get going good or some manager, promoter or big record label decides to market you as a pop star, you or they will either hire publicists or consultants to develop your image and get you publicity. They will also hire accountants and managers to look after the money but be very wary. Check the books yourself or make sure you get paid immediately for everything you do. The music mags have ads for all kinds of promoters, managers, etc. The big labels put out big bucks to advertise new CDs in music mags and even on TV. You might consider doing this too.
270 In the end, music makes it based on the music and the cool image of the performer or fails because it sucks and the musician is a bland looking, bland acting person.
Merchant Credit Card Status
You should get set up with Mastercard, Visa, etc. It will cost you from 3% to 5% but you must have this service available for your customers if you want to stay in business. This is called Merchant Credit Card Status. The important thing here is to ultimately set up your
271 account in the bank that will service all of these credit transactions for you, one stop for all your banking needs. In most instances, you will find that having the capability to fill orders/make sales via credit card transactions will increase your volume of sales appreciatively. If a local bank won't do it, check others for leads and check the ads of moneymaking magazines for ads. You can seriously increase your orders by accepting credit cards as payment,
272 especially if you’re on the internet. It's easy and convenient for the customer and that makes it more likely for them to order. The only problem is that it's hard for a business, especially a small business, to gain the ability to accept credit cards. Banks are very reluctant to authorize credit card acceptance mainly because they have been burned too many times by fraudulent businesses. The merchant bank allows the retailer or merchant to accept credit card payments from customers. Banks or financial
273 institutions have strict regulations regarding issuing a merchant account. When the merchant gets merchant credit card status, he or she rents or buys special software or hardware, a processing terminal, to process transactions. If you can’t get a merchant account from a bank, a merchant broker might be able to get you one. Brokers charge an upfront setup fee and then lease or sell the transaction equipment. Banks and brokers typically charge a percentage fee for every transaction
274 completed, generally from two to 7%. Some merchant credit card systems offer immediate automated transaction processing while the customer waits. Others offer manual processing which collects payment information which is later manually processed. In any case, if you’re serious about being in business, the cost to buy these processing equipment will be much cheaper than renting it in the long run. With the point-of-sale terminal, you just punch in the numbers, expiration date and amount of
275 sale. When you send this information, the processor, using a phone line, transmits the information and sends back either an approval code number or a “decline” (rejection). The most common fees are as follows: Count rate. A fixed percentage taken from every credit card sale transaction. Visa and MasterCard take from two to 4%, Discover and American Express take more. Monthly fees. Internet merchant account fee. Chargebacks or holdbacks. Your bank or map
276 may hold back, or reserve, a percentage of your transaction receipts to cover any contested charges in the future. They will debit your account for all chargeback fees against your account that are successfully contested. Credit card holders have the right to contest charges on their statements based on dissatisfaction with the product or service, fraudulent use of the card by someone else or error. When they contest the charge successfully, a chargeback occurs, the merchant pays back the charge to the issuing bank and probably a fee like a bounced cheque fee.
277 Bankers are the biggest vendors of merchant credit services. Other options are trade associations and business groups then go to the most expensive brokers if you can’t get an account any other way. Many businesses go on, accepting only cash, checks or money orders for payment and miss out on the added sales they would get through credit cards. There is a way for businesses that can't get bank authorization to accept credit cards. The easiest way is to work with an Independent
278 Sales Organization (ISO) which acts as a middleman between small businesses and banks. They will charge an additional fee for each transaction so you will be paying a bit more than the standard percentage charged for credit card transactions. There will also be an application fee. Here are the typical charges to expect: Application fees: Usually, these range from $95 to $400 and may or may not be refundable. Point of sale terminal purchase or lease. The
279 terminal you use to process the charge and check for fraudulent numbers is usually available from a bank for around $300. You will only be able to get this price if a bank authorizes you. If working through an ISO, prices will range from $400 to even as high as $1500. You can usually lease the terminal at an average of $45/ month. The best thing to do is to find an ISO that will provide computer software that can be used in place of a terminal. This will usually cost only around $150.
280 Service fees. Banks charge between 2% and 5% for processing a credit card purchase. ISOs charge higher, usually 3% to 7%. They also usually charge a per transaction fee of 20 to 25 cents and a monthly statement fee of $5 to $10. ISOs only want to work with legitimate businesses and ones that will stay with them for a long period of time. If a business can afford these fees, they are considered less of a risk. The important thing to do is to shop around for an ISO. Get as much information as you can
281 about each ISO you are considering and read it thoroughly. Look for hidden charges and unreasonable requirements. Check out the ads in the money making/ business magazines offering merchant credit card status. Get the free catalog from Eden Press (11623 Slater E., Pob 6410, Fountain Valley, CA 92728, 800-338-8484, edenpress.com) which offers books on merchant credit cards. 1stamericancardservice.com acs-cvp.com americanexpress.com, 800-528-5200 atcbilling.com, automated transactions
282 corp. atsbank.com authorizenet.com cardservice.com cashfinder.com charge.com, 800-7merchant cbill.com creditpro.com cybercash.com dinersclub.com, 800-432-1160 discover.com, 800-347-6673 echo-inc.com, 800-233-0406 firstdata.com icw.com/cardserv/crdsrv.html internetsecure.com, accept credit cards through them without the hassles of getting your own account. isquare.com merchantexpress.com merchantservices.com merchantwarehouse.com, credit card
283 processing equipment and software. merchantworkz.com, list of companies. openmarket.com parapublishing.com, book on the subject. paybyweb.com paymentmall.com paymentnet.com rockmall.com/secure.htm sitecheck.com/exclu.htm sitekey.com verotel.com/index.html web-charge.com Electronics Transactions Assn. 3101 Broadway #585 Kc, Mo 64111 800-695-5509 Most ISOs belong to this trade organization. Send for information. National Assn. of Credit Card Merchants
284 217 N. Seacrest Blvd. Box 400 Boynton Beach, Fl 33425 407-737-7500 Here is a list of some of the ISOs you may want to consider. This is not an endorsement of any or all of them, these are just the most prominent ones. Try your local banks and your trade/professional association for merchant credit card services first before you go to outside services which are usually more expensive. Alta Financial Services1839 Alma School Road #226Mesa, AZ 852-10800-684-4010 602-491-4010Fax: 602-4914910Accepts small businesses.American
285 Express Establishment Services 800-445-2639 americanexpress.com American Home Business Assn. 4505 S. Wasatch Blvd. Slc, Ut 84124 800-664-2422 homebusiness.com homebusinessworks.com Bancard, Inc. 1233 Sherman Drive Longmont, Co 80501 800-666-7575 Capital One 888-270-4302 Card Service InternationalHeadquarters:26775 Malibu Hills RoadAgoura Hills CA 91301800-
286 456-5989Checks Net 800-377-4026 Chittenden Bank email@example.com chittenden.com Accepts small businesses. Data Capture Systems 231 Quincy St. Rapid City Sd 57701 605-341-6461 Direct Marketing Guaranty Trust 141 Canal Street Nashua, Nh 03061 603-882-9500 discover.com 800-347-6673 Electronic Bankcard Systems 2554 Lincoln Blvd.
287 #1088 Marina Del Rey, Ca 90291 213-827-5772 EMS Global (ECHO Network) Electronic Merchant Systems-Global 9212 E. Montgomery #202 Spokane, WA 99206 800-757-5453 509-9246812Entrepreneurs of America 800-533-2665 Executive Bankcard Services4113 Scotts Valley Dr. #100Scotts Valley, CA 95066831 4401437 Fax: 831 440-1433 Financial Alliance 800-928-2273 Gold Coast Bankcard Center Ft. Lauderdale, Fl 305- 492-0303
288 Harbridge Merchant Services 681 Andersen Dr. 4th Fl., Bldg. 6 Pittsburgh, Pa 15220 412-937-1272 Merchant Bankcard Network151 Route 33 East Manalapan, NJ 07726 800-7084494 Mountain West Communications 800-642-9378 NaBanco/First Data Merchant Headquarters Pob 6600 Hagesrtown MD, 21741 800-359-3559Novus Network Services800-347-7763 Teleflora Creditline12233 West Olympic Blvd.Los Angeles, CA 90064800-480-
289 6694800-325-4849 United Publishing Group 12905 S. 71st Hwy. #304 Grandview, Mo 64030 816-761-6436 Fax: 816-767-8482 businesstoolbox.com U.S. Merchant 888-207-5110 Some credit card processing software companies are: Atomic Software 100 Valley River Avenue Murphy, Nc 28906 800-392-9550 Credit Card Processing Software 800-456-0588
290 800-392-9550 Martin Howe Associates Inc. 17950 Preston Road, #720 Dallas, Tx 75252 800-456-0588
Pro Sound Concert Companies
abridgesolution.com, a bridge solution. americanmusic.com, american music seattle. atlantisaudio.com, atlantis audio & lighting. attcoinc.com, attco. audio310.com, live sound concepts. , concert and event sound company for the southern californialos angeles area. stage lighting, backline audioinstitute.com, audio institute of america. bandshell.com, v. b. industries.
291 bmlinc.com, bml incorporated. bobadilla.com, bobadilla cases. clair-audio.com, clair brothers audio. clearwing.com, clearwing productions. colortone.com, colortone staging & rental, inc. communilux.com, communilux productions. cranesong.com, crane song ltd. delicate.com, delicate productions. electricear.com, electric ear productions. eventtechonline.com, event tech. everythingshowbiz.com, everythingshowbiz.com. freeyellow.com/members2/entertainment systems, entertainment systems corporation. gbaudio.cjb.net, gbaudio. gsdpro.com, gsd productions, inc. intellasound.com, intellasound productions. lucidtechnology.com, lucid technology. macpherson-inc.com, macpherson, inc.
292 mcmsystems.com, mcm sound systems. members.aol.com/mzwoody, mzw enterprises /prosound co. midnightblueproaudio.com, midnight blue professional audio. morey.org/lmorey/dark_phoenix.html, dark phoenix productions inc. mzwproductions.com, mzw productions. oceanstate.com, ocean state rigging systems, inc. polarfocus.com, polar focus. pro-formance.com, pro-formance lighting. prosoundusa.com, pro-sound usa. psiohio.com, production solutions, inc. reidsound.com, reid sound. rentcom.com, rent com, inc. rgsound.com, r. g. sound, communications & staging. ridgewood soundsyracuse ny sb.net/jgraver/boundary.html, boundary production. secoa.com, secoa.
293 showco.com, showco. snowsound.com, snow sound inc. soundsgreat.com, sounds great. soundsummit.com, sound summit. specialeventservices.com, special event services. stagesound.com, stage sound, inc. suntrack.com, suntrack sound, inc. symetrixaudio.com, symetrix. teleport.com/~legends, legends for sale/sundown sound. thirdearsound.com, thirdear sound. toursupply.com, tour supply inc. trinitysoundcompany.com, trinity sound company. triskelionproaudio.com, triskelion professional audio & stage lighting. turnofthecenturyproductions.com, turn of the century productions. twcny.rr.com unitedstaging.com, united staging & rigging. users.erols.com/gsmproductions, gsm
294 productions. wavetribe.com, wavetribe productions. wcsl.org, west coast sound & light. netcom.com/~ausound, goldsound sound and lighting services. , los angeles
Concert Lighting Company Websites
alss1.com, advanced lighting & sound solutions. altmanltg.com, altman stage lighting company, inc. amazingcontrols.com, amazing controls. angelfire.com/biz/precision, precision theatrical lighting and special effects. atlantisaudio.com, atlantis audio & lighting. attcoinc.com, attco. banditlites.com, bandit lites. blueragcafe.to, lightwawes inc. bmlinc.com, bml incorporated.
295 bobadilla.com, bobadilla cases. clearwing.com, clearwing productions. colortone.com, colortone staging rentals. communilux.com, communilux productions. creativestagelighting.com, creative stage lighting company. cybertech-designs.com, cybertech designs. darkstarlighting.com, darkstar lighting. derksen.com, derksen. dpi-ld.com, design partners, inc. electrosonic.com, electrosonic int. elux.net, e lux. entsyscorp.com, entertainment systems corporation. esta.org/homepages/circuitlighting, circuit lighting inc. etasys.com, eta systems. etcconnect.com, etc. eventtechonline.com, event tech. everythingshowbiz.com, everythingshowbiz.com.
296 fnets.com/escinc.htm, entertainment systems. gaffer.cjb.net, "lighting by al reiners". getgts.com, general theatrical supply. gsdpro.com, gsd productions, inc. gsldallas.com, gemini stage lighting. highend.com, high end systems. home.earthlink.net/decasource, decasource. icdevices.com, intelligent control devices. i-ld.com, irwin lighting design, inc. intelligentlighting.com, intelligent lighting creations. jancoltd.com, janco. johnpedone.bizland.com, unlimited illumination. jshaa.com, john s. hyatt & associates. jtservices.com, jt services/available light. lehighdim.com, lehigh electric products co. lightfxunlimited.com, light f/x unlimited.
297 lighthom.com, louie`s lighting inc. lumination.com, lumination productions. lutron.com, lutron electronics. magnumco.com, magnum companies. majesticproductions.com, majestic productions, inc. majesticproductions.com, majestic productions. members.aol.com/joenow, paradise designs. meteor-global.com, meteor lighting. mole.com, mole & richardson co. morpheuslights.com, morpheus inc. mps-inc.net, maximum production services. multiimagegroup.com, multi image group. nifty-gadgets.com, nifty-gadgets!. nsicorp.com, nsi corporation /colortran. oasis-stage.com, oasis stage werks. oceanstate.com, ocean state rigging systems, inc. opti-case.com, opti-case.
298 pacific-grip.com, pacific grip & lighting, inc.portland. seattle. phoebus.com, phoebus company. prodart.com, production arts lighting, inc. pro-formance.com, pro-formance lighting. quickbeam.com, quickbeam systems inc. refraction.net, refraction media. rigging.net, complete stage services. riggingsystems.com, peter albrecht company, inc. sdstagelighting.com, san diego stage & lighting supply. seal-fla.com, stage equipment & lighting inc. secoa.com, secoa. seidesign.com, shearer entertaiment lighting design. sfps.net, stage front presentation systems. silhouettelights.com, silhouettelights. specialeventservices.com, special event
299 services. spectrumlighting.com, spectrum inc. stagelighting.com, sttv and a/v service. inc. starlitepro.com, starlite productions. stellardesigns.com, stellar designs inc.multimedia laser shows. strandlight.com, strand lighting. supertech-inc.com, supertech, inc. t2k.com, towards 2000 inc. techni-lux.com, techni-lux. teleport.com:80/~hlights, hollywood lights. tempestlighting.com, tempest lighting. theocl.com, the original cast lighting. tlsinc.com, theatrical lighting systems. tmb.com, tmb associates. toolsforstagecraft.com, tools for stagecraft. totalstructures.com, total structures. turningpointservices.com, turning point services, inc. turnofthecenturyproductions.com, turn
300 of the century productions. unitedstageassociates.com, united stage associates. unitedstaging.com, united staging & rigging. upstaging.com, upstaging, inc. users.erols.com/gsmproductions, gsm productions. vari-lite.com, vari lite. videowest-az.com, show design inc. videowest-az.com, videowest az. westsun.com, westsun. wybron.com, wybron, inc.
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