Allyson's Music Business Blog

The Sky's the Limit for Skylar Grey

noreply@blogger.com (Allyson Urban) — Sun, 23 Oct 2011 23:27:00 +0000

One of the greatest young singer/songwriters today is 25-year-old Skylar Grey.

If you haven't heard of her yet, she sings the soft, honest vocal that opens "Coming Home" by Diddy-Dirty Money - the part of the song that she wrote. Ever wonder who wrote and sang the pleading female vocal on Dr. Dre's "I Need a Doctor"? Skylar Grey again. She also wrote Rihanna's part in "Love the Way You Lie" which you can hear in her original demo for the song.

Grey grew up as Holly Brook Hafermann in Wisconsin, started singing at age 2 and wrote her first original song on the piano at age 5 called "Song of the Whales," in honor of her then love for the marine mammals (Bierly, 2011). She went on to put out three folk albums with her Mom before age 15 and in 2003 signed to Linkin Park's Machine Shop Recordings label, after which she was featured on Fort Minor's "Where'd You Go?" (Blanco, 2011). Take a look at a younger Skylar Grey (then going by Holly Brook) in a behind the scenes look at the "Where'd You Go?" video shoot:

In 2006, Grey released her first solo album called Like Blood Like Honey, followed in 2010 by a starring role as a female ghost Duncan Sheik's Whisper House musical and an EP release called O'Dark Thirty. After that she left timid Holly Brook behind to become a stronger version of herself called Skylar Grey, for the gray skies at her current home base in Oregon that she loves so much and her desire to dive into the gray unknown since she claims "that's where all your possibilities come from" (Bierly, 2011).

When asked, in a Feburary 2011 interview with MTV's Sway, what it's like going from the writing in the back woods of Oregon to collaborating with some of hip-hops biggest names, Grey says "It's a creative experience being in the studio with different talented people. I'm actually not at all from the hip-hop world, but I think that's what works about the sound that we've gotten now - the combination of the alternative chorus mixed with the hip-hop verses" (Blanco, 2011). And work it definitely has, as seen by the success of her collaborative tracks and the future projects she's already lining up.

Here is the title track off Grey's upcoming solo album produced by Alex Da Kid called Invisible, set for release by KIDinaKORNER/Interscope in January 2012 (Bio, n.d.):

References:
Bierly, M. (2011, February 22). Skylar Grey talks penning 'I need a doctor,' her name change, and why her upcoming album may have a sound we've never heard before. Entertainment Weekly. Retrieved October 23, 2011, from http://music-mix.ew.com/2011/02/22/skylar-grey-interview-eminem-dr-dre/
Bio. (n.d.) Myspace.com. Retrieved October 23, 2011, from http://www.myspace.com/skylargrey
Blanco, A. (2011, February 14). Who is Skylar Grey? MTV news. Retrieved October 23, 2011, from http://rapfix.mtv.com/2011/02/14/skylar-grey/
Images:
[Skylar Grey 1]. Retrieved October 23, 2011, from www.myspace.com/skylargrey/photos/7697403#{"ImageId"%3A7697403}
[Skylar Grey 2]. Retrieved October 23, 2011, from http://rapfix.mtv.com/2011/02/14/skylar-grey/

Collaboration Is Where It's At

noreply@blogger.com (Allyson Urban) — Sun, 09 Oct 2011 16:29:00 +0000

Some of the biggest hits in music occur when two separate music industry icons get together and collaborate to form a powerhouse track. Some memorable examples from music history include:

Under Pressure by Queen & David Bowie

Walk This Way remake by Aerosmith and Run-D.M.C.

&lt;p&gt;&amp;amp;amp;amp;lt;p&amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;And &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;br&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;gt;&lt;/p&gt;

And, All For Love by Sting, Bryan Adams and Rod Stewart:

http://youtu.be/n-AB7RJpOjY

It seems like every other song on Top 40 radio stations today is by "________ featuring ________," and there's good reason for that. Just like the saying goes "two heads are better than one," often times two music artists are better than one. Collaborating can bring two talents together to fill in the gaps where each other may be lacking, add extra elements to an already great song, or create something completely new and unheard of (especially when two different music genres are combined).

Some of my favorite music collaborations from the past decade include:

The song that launched Lady Gaga's career - Just Dance featuring Colby O'Donis

One by U2 and Mary J. Blige

Numb/Encore mash-up by Jay-Z and Lincoln Park

And, of course, any collaboration with Rihanna. Rihanna has become a collaboration queen with her long list of song partners, including Jay-Z, Ne-Yo, Kanye West, Eminem, Drake, T.I., Young Jeezy, Maroon 5, Nicki Minaj, Britney Spears and Justin Timberlake. She only continues to grow that partnership list further by working with Coldplay on a track off their upcoming Mylo Xyloto album called "Princess of China." The majority of Rihanna's collaborative works have been a huge success and she and her team clearly understand the power of a good artist combination.

Outside of actual artists working together in the industry to combine sounds and create some amazing hit records, you also have the collaboration of music industry executives and performers-turned-mentors that come together in search of the next big music star. American Idol's original team of judges Simon Cowell, Paula Abdul and Randy Jackson worked together over the last decade to influence America's top vote that brought about stars like Kelly Clarkson, Carrie Underwood and Jordin Sparks. Now we also have The Sing-Off, where this season Ben Folds, Shawn Stockman and Sara Bareilles decide which competing a cappella group will win a Sony Music recording contract and $200,000; The Voice where coaches Christina Aguilera, Cee Lo Green, Adam Levine and Blake Shelton are joined together in search of the next great singer; and most recently Simon and Paula are back together again, but now also working with Nicole Scherzinger and L.A. Reid to find an American vocal act with The X Factor. Take a look at this video to see how much fun big time L.A. Reid and Simon Cowell are together as they answer questions about the show so far:

Get More: Music News

The lesson to be learned here - if you are an artist looking to up your game in the music world or a music businessman looking to capitalize on what you've done in the industry so far, find someone great to collaborate with and let the sparks fly (and hopefully the money will start rolling in right behind).

Applying Expert Tips to My Own Music Business Idea

noreply@blogger.com (Allyson Urban) — Sun, 25 Sep 2011 21:01:00 +0000

Throughout my Entertainment Business Masters of Science degree program at Full Sail University I had to come up with a new business concept and wrap all my learnings into a final Business Plan (BP) for that start-up company. The new nighttime venue I created is a live performance competition based nightclub that I call Battle Bar. This new drinking establishment would have a fun, creative atmosphere with local indie performers up on stage every night battling it out to win the audience vote (and 10% of that evening’s cover charge).

Battle Bar wasn’t the original idea I had for my BP project however. I knew from the beginning I wanted to create a new venue in the Orlando, Florida area for local artists to perform and I kept thinking of open mic nights at coffee houses and originally came up with what I called “Orlando Indie Lounge.” Orlando Indie Lounge was going to be a coffee house/bar that could provide live entertainment to an older coffee-loving crowd earlier in the day, as well as cater to a younger alcohol-consuming, party-going crowd later at night. BP expert, Tim Berry, would probably have said the Orlando Indie Lounge concept was too complex (Berry, n.d.). And along the same lines, Jeff and Rich Sloan would have probably told me that I would need to more clearly spell out my business idea (Sloan & Sloan, n.d.). I’m glad I took away the coffee concept and can now focus all my efforts on reaching a more specific bar-going target market for Battle Bar.

The Sloan brothers also helped me to refine my Battle Bar BP by pointing out how important it is have my financials sorted out and to “know the type of capital, how much [I] need and when [I] need it” (Sloan & Sloan, n.d.). By focusing my sales on just cover charge and alcoholic beverages (and not also coffee), it was easier to put together my financial estimates for monthly sales, figure out when I can expect to break even and start earning a profit, and learn how much money I will need to start-up.

Another important learning I’ve taken away from Mr. Berry about developing a good BP is to make sure it is complete and includes all necessary components (Berry, n.d.). Of all the pieces that make up a good BP whole, I plan to put the most time and effort into my Executive Summary, Management and Organization, and Financial sections. According to Rhonda Abrams (1991), author of Successful Business Plan Secrets and Strategies, “the Executive Summary is crucial” (p. 53). If an investor reading my BP isn’t intrigued by this opening summary of my company idea, then they will not want to read on to find out further details about my business and I can kiss their investment goodbye. Being a start-up company, the Management and Organization section of my Battle Bar BP is also very important, because the investor will want to know all about who is leading the company, how many people are onboard and all of their qualifications. If the investor doesn’t feel confident the company has a strong team to support it they won’t want to invest. Lastly investors care a lot about the Financials. I want to impress them with my allocation of start-up funds and realistic sales figure projections that will show how my business will be profitable, and how making an investment in my company is worth the investor’s time and money.

Hopefully reading about this thought process behind my first BP will help you to further develop a great music industry BP of your own! Best of luck and happy planning!

References:

Abrams, R. (1991). Executive Summary. In Successful business plan secrets and strategies (5th ed.) (pp. 53-65). Palo Alto, CA: The Planning Shop.

Berry, T. (n.d.). What makes a good plan?. Bplans. Retrieved September 4, 2011, from http://articles.bplans.com/writing-a-business-plan/what-makes-a-good-plan/37
Sloan, J., & Sloan, R. (n.d.). 3 key components of a business plan. StartupNation. Retrieved September 4, 2011, from http://www.startupnation.com/podcasts/episodes/1371/podcast-3-components-business-plan.asp

Images:
[business plan]. Retrieved September 25, 2011, from http://learnthat.com/2010/02/how-to-write-a-great-business-plan/
[open mic]. Retrieved September 25. 2011, from http://doobious.org/open-mic-7/

Every Music Business Needs a Plan, so here are Some Tips from the Experts to Make it a Good One

noreply@blogger.com (Allyson Urban) — Tue, 06 Sep 2011 04:37:00 +0000

Have you ever thought about starting your own artist management company, booking agency or recording studio? Whether one of the above or any other business in the music industry, the best way to get it going is to create a Business Plan (BP). There are many important elements that make up a good BP and here are a few of them straight from a couple of BP experts.

Jeff and Rich Sloan

Jeff and Rich Sloan are two brothers that founded StartupNation in 2002, a business that uses "broadcast, online, print and event channels" to "offer entrepreneurs the ultimate resource for starting and growing a company" (About StartupNation, n.d.). In addition to creating StartupNation, the Sloans have experienced a number of other business ventures together to amass their wealth of entrepreneurial and BP knowledge, including purchasing and then reselling HUD homes and starting a "venture development and financing firm" called Sloan Ventures (About StartupNation, n.d.), as well as founding Aria International to breed and sell Arabian horses. In one of their podcasts entitled "3 Key Components of a Business Plan," Jeff and Rich describe how important it is to (1) clearly spell out your business model, (2) display a financing strategy that is "practical" and "fits the growth needs" of your business, and (3) set a "milestone timeline" for your business (Sloan & Sloan, n.d.).
(1) Whether you want to start an online business or a physical store/office/studio location, a limited liability company or a corporation, the Sloans suggest clearly defining your business model early in your plan as this lays the groundwork on which the rest of your BP is based.
(2) You'll want to "know the type of capital, how much you need and when you need it" for your BP, say the Sloan brothers. You have to figure out how you will get your financing (i.e. whether saved start-up capital, family and friends, angel investors, bank loans, etc.) and lay it out in your BP so you can be sure to start making those relationships early on. You also have to forecast how much money you will need to get started and grow, as well as the projected ebb and flow of your business so you are prepared for slow sales periods.
(3) A milestone timeline is also a great tool to add to your BP, the Sloans say, because it gets you to focus on completing "certain progress at certain times along the way." Example milestones to celebrate could be the date your company opens for business or the date you reach a goal number of sales. If you miss a milestone, you have to hold yourself accountable and adjust your BP to work around it.
You can listen to the full podcast here: http://www.startupnation.com/podcasts/episodes/1371/podcast-3-components-business-plan.asp or go to http://www.startupnation.com/ to find more great BP advice from the Sloan brothers.

Tim Berry

Tim Berry is the founder of Palo Alto Software Company that sells BP and Marketing Plan software, as well as the founder of Bplans.com, which offers sample BPs and BP advice from various experts including Berry himself. Berry also taught about business start-up for 11 years at the University of Oregon (Tim's Bios, n.d.).
According to Berry, a good BP should "set goals, responsibilities and deadlines to guide your business." Berry also says a good BP should be (1) simple, (2) specific, (3) realistic and (4) complete (Berry, n.d.).
(1) It's important that your BP be communicated well and easily understood so anyone looking to possibly invest does not have to struggle to grasp the concept.
(2) You want your BP to be specific, meaning you have "concrete and measurable" objectives and specific budgets, actions, responsibilities, etc. spelled out, says Berry, so it is clearly understood what needs to be achieved to get the business up and running successfully.
(3) You BP should be realistic because if you set outrageous goals that you can never achieve, you are only setting your business up for discouragement and probable failure.
(4) Make sure your BP is complete and includes all important sections such as Mission Statement, Executive Summary, Industry Analysis and Trends, Management and Organization, Financials, etc. Visit http://www.bplans.com/business_planning_resources/videos/fundamentals_part_1_of_5 to hear Tim talk about all the specific elements that make up a complete BP.

Now that you've read what some of the experts have to say, go out and start crafting your BP to get that Music Business you've always dreamed about off the ground. Good luck!

References
About StartupNation. (n.d.). StartupNation. Retrieved September 4, 2011, from http://www.startupnation.com/about
Berry, T. (n.d.). What makes a good plan?. Bplans. Retrieved September 4, 2011, from http://articles.bplans.com/writing-a-business-plan/what-makes-a-good-plan/37
Sloan, J., & Sloan, R. (n.d.). 3 key components of a business plan. StartupNation. Retrieved September 4, 2011, from http://www.startupnation.com/podcasts/episodes/1371/podcast-3-components-business-plan.asp
Tim's Bios. (n.d.). Retrieved September 4, 2011, from http://timberry.bplans.com/bio

Images
[Jeff and Rich Sloan]. Retrieved September 4, 2011, from http://www.mlive.com/business/mid-michigan/index.ssf/2010/08/entrepreneurs_and_former_flint.html [Tim Berry]. Retrieved September 4, 2011, from https://plus.google.com/107679108639721009245/posts

Audition Advice to Help Overcome the Fear and Blow Them All Away

noreply@blogger.com (Allyson Urban) — Mon, 22 Aug 2011 00:45:00 +0000

I went to a recent audition for Season 2 of The Voice in Orlando and will admit I was a nervous wreck - as I usually am for any singing audition. Although I think nervous adrenaline can be a good thing, it's important not to let it overtake you to the point where it hinders the best display of yourself before any judge or casting director. From my own experience with music auditions (as both a performer and talent casting assistant), as well as some audition advice I've found online, I've compiled a list of my favorite successful audition ideas below:

1. Be Prepared -
a) Have the Right Technique.
Not only is it important to be ready in advance for audition day with the right directions to the audition facility and any requested materials to turn in (such as a headshot and resume), but it's also important to be ready with a fine-tuned, rehearsed set of vocals. Vocal performer and Singing Secrets author, Kristina Seleshanko, talks about the importance of studying to be a professional singer and says "no matter how talented you are, you can benefit from lessons from a good voice teacher or coach" (2007). The same thing goes for you musicians taking lessons as well - there is always more to learn.

American Idol 7 winner, David Cook, at his audition.

b) Pick the Right Audition Piece of Music.
Bring an audition piece that best showcases your voice or other instrument, is appropriate for that specific audition, and is in the allotted time frame or number of bars. If you are stronger in your upper register, don't sing a song that dips too much in your lower register just to show range because you could be hurting yourself by not really showcasing what you are best at. You also want to make sure to "show the judges that you know how to sing the type of material they're looking for" and "don't use a song that you can't sing well every time you sing it" (Seleshanko, 2007). You'll probably already be nervous enough, and having a song that's right on target for the spot you're competing for, and that you know you can nail, will really help to calm you down before the big moment.

2. Be Confident, But Not Cocky.
Portraying confidence is often easier said than done, but it's extremely important in the professional entertainment world in order to be counted on to get up on stage and perform music well. A couple ways to get over being "shy" and exude confidence are to focus on the drive you have to perform, and be sure to have followed Audition Idea #1 and come fully prepared (Kulerman, 2006). Dressing in an outfit you feel good in and displaying that outward confidence will help to bring out your inner confidence as well. Just fair warning - don't push that new-found confidence too far into the realm of cocky, because no casting director is going to appreciate you explaining how you are the top choice for the role before you've even made it on the drawing board.

3. Be Respectful Of Others Auditioning and Those Judging.
This one may be self explanatory, but remaining compliant and courteous at auditions will get you farther than complaining and being rude to those around you. You will probably have to wait at any audition, so get used to it if you plan to audition frequently. Complaining about the process, or others waiting to audition and do their best, is not going to make you feel any more at ease with the situation and could even just put you more on edge before getting in front of the casting team. When before the casting team or the judges, don't cry, whine or yell at the panel. If they cut you, be respectful of the decision and don't demand an explanation or ask to perform one more time. Instead, graciously exit and save face, so at your next audition for the same panel, they do not have a sour memory of you before you even open your mouth to sing or start to play your instrument.

4. Keep Performing in Public.
According to Seleshanko (2007), you can help overcome your audition jitters by auditioning often and getting used to the judging process so you can learn to relax and perform at your best. If it becomes habitual for you to sing or play in front of others, fear of doing so will start to fade and it will be less nerve-wracking to audition. A really sweet lady I met at The Voice audition suggested using karaoke nights as a way to get better at singing in front of strangers.

5. Audition for Yourself.
Right before I entered the audition room for The Voice open call, a gentleman standing next to me in line reminded us that we have to audition for ourselves. Don't audition merely to impress the others waiting in line or to wow the judge, but rather do it for yourself - because you want to perform. He also said we all just have to focus on ourselves "in this moment" instead of focusing on the possible outcome. If you go all in for yourself and that shining audition moment, then you can walk away with your head held high even if it's a "no" for today.

References:
Kulerman, R. (2006). Tips for beating shyness. Retrieved August 21, 2011, from http://www.actingbiz.com/articles/tips-for-beating-shyness.php
Seleshanko, K. (2007). How to succeed at an american idol audition (or any audition). Retrieved August 21, 2011, from http://voicestudio.kristinaseleshanko.com/WinAmericanIdol.htm

Images:
[Audition Line]. Retrieved August 21, 2011, from http://www.nydailynews.com/entertainment/galleries/rockettes_tryouts/rockettes_tryouts.html
[David Cook]. Retrieved August 21, 2011, from http://realitytvmagazine.sheknows.com/2010/06/22/american-idol-season-10-auditions-information/
[Karaoke]. Retrieved August 21, 2011, from http://www.teluglobe.com/podcasts/chinuku-thadiki-by-harika-karaoke

How to Protect the Singing Voice

noreply@blogger.com (Allyson Urban) — Sun, 07 Aug 2011 22:30:00 +0000

Just like musicians have to take care to properly clean, store and transport their drum sets, guitars, pianos, etc., singers have to take care of their #1 instrument as well - their vocal chords. Inexperienced singers may think they have it easy because they don't have to pay for their equipment and don't have to worry about carefully lugging extra weight around. Although the lack of a detached instrumental component may be true, the reality is that singers should take just as much time with, and pay just as much attention to, their internal vocal instrument, if they want it to last and provide them with a successful music career.

In no particular order (because all are important), here are some tips to keep those valuable vocal chords healthy and happy:

1. DO NOT SMOKE - Cigarette smoke burns and dries out the vocal chords (Memel, 2010).

2. WARM UP - Just like a runner should do stretches to warm up their leg muscles before hitting the track, singers should warm up their vocal muscles before attempting to belt out tunes in order to avoid injury. Check out the below YouTube video where celebrity vocal coach Brett Manning gives some great warm up advice the average singer may not be familiar with:

3. WATCH POSTURE AND AVOID STRAINING - Standing up straight and keeping the head high not only looks better and portrays confidence when singing, but it also helps to not "constrict the throat, reduce airflow and cause unnecessary tension and strain on the voice" ("Let Your Voice Be Heard," 2010). Be sure to keep the "face and neck relaxed" as well (Braniac, n.d.), to avoid any kind of injury to those important muscles that control the vocal chords.

4. DRINK THE RIGHT BEVERAGES - Eight glasses of room temperature water a day is the best way to keep vocal chords nicely open and hydrated (Braniac, n.d.). Drinking warm tea is also a great way to sooth the vocal chords after long singing sessions. Just make sure that tea is decaffeinated, since caffeinated beverages, as well as alcohol, cause dehydration that singers need to avoid ("Let Your Voice Be Heard," 2010). Excessive milk and other dairy item consumption should also be avoided (especially before a big performance) because this can clog up the vocal airway by building up excess mucus in one's system.

5. GET ENOUGH REST - In addition to getting plenty of sleep so the brain isn't over tired for the mental task of singing, it's important to rest the voice in between singing gigs. As vocal coach Steven Memel says, "Quit yelling!!!" (2010). Constantly "yelling, screaming or cheering," such as at a sporting event or a loud night club can really cause strain on the voice, if not cause one to lose it for a short period of time altogether. When having to talk, try to keep it at a normal pitch (not too high or low) and at a normal decibel level (not too loud or whispery soft) ("Let Your Voice Be Heard," 2010).

6. DON'T CLEAR THE THROAT - Since clearing the throat is "the equivalent of slamming the vocal chords together" ("Let Your Voice Be Heard," 2010), it's better to just take a sip of water and swallow to get rid of any extra build up.

References -
Braniac. (n.d.) How to protect your vocal chords. eHow. Retrieved August 7, 2011, from http://www.ehow.com/how_4492179_protect-vocal-chords.html
Let Your Voice Be Heard. (2010, November). Let your voice be heard: Tips to protect your vocal chords. National Jewish Health. Retrieved August 7, 2011, from http://www.nationaljewish.org/healthinfo/lifestyle/management/protect-your-vocal-cords/
Memel, S. (2010, August 23). How to protect your vocal chords and keep them healthy for decades. Retrieved August 7, 2011, from http://stevenmemel.com/blog/how-to-protect-your-vocal-cords/
Images -
[glass of water]. Retrieved August 7, 2011, from http://jupitercity.wordpress.com/2011/01/16/silent-sunday-glass-of-water/
[singing]. Retrieved August 7, 2011, from http://healthylifecarenews.com/singing-cheerfully-can-help-lose-weight/

iHeartRadio Fights Back

noreply@blogger.com (Allyson Urban) — Mon, 25 Jul 2011 02:51:00 +0000

On Monday July 11, 2011, Clear Channel Communications Inc. announced the formation of "the biggest live music event in radio history" - the iHeartRadio Music Festival to be held at the MGM Grand in Las Vegas on September 23rd and 24th. In case you missed it, here is Ryan Seacrest's formal video announcement with all the details:

The idea behind the event comes from iHeartRadio's on-going competition with popular internet radio site, Pandora. Since the decline of live broadcast radio listening and the rise of on-the-go internet music and podcast listening via mobile devices and internet-capable mp3 players, Pandora has led the way with its ability to "create personalized song lists" for its "94 million registered users" (Associated Press, 2011). In an effort to compete and draw in more online visitors, in addition to listeners of its many regular radio station broadcasts, Clear Channel will be changing the iHeartRadio app and website to include the following:

access to the programming of more than 750 Clear Channel stations
Pandora-like customization
access to more songs, content, and more control than Pandora, plus the ability to create playlists
no commercials through the end of the year (All Access Music Group, 2011).

The declaration of the above iHeartRadio changes to be implemented this fall comes after Pandora CEO, Joseph Kennedy, talked to Bloomberg Television back in June about how Pandora can ultimately take over the music world with its "ability to connect users with the new music they love" (Wall St. Cheat Sheet, 2011). iHeartRadio is not to be underestimated however, as you can see with this Music Festival/website and app revamp retaliation.

For those who couldn't get tickets to the now sold out 2-day event in Las Vegas, the festival will be streamed live on iHeartRadio for everyone to visit iheartradio.com or download the new app to enjoy. iHeartRadio set up such a huge music event to potentially reach "the largest combined U.S. radio and online audience ever" (All Access Music Group, 2011). With amazing acts such as Lady Gaga, Coldplay, Black Eyed Peas, Bruno Mars, Kelly Clarkson, John Mayer and over a dozen more, who wouldn't want to download the new iHeartRadio app and catch this major music concert live from wherever you happen to be on September 23 and 24, 2011? Smart move iHeartRadio, smart move.

References:
All Access Music Group. (2011, July 11). Clear channel announces iheartradio music festival in Las Vegas - New iheartradio app set to challenge pandora. Retrieved from http://www.allaccess.com/net-news/archive/story/93603/clear-channel-announces-iheartradio-music-festival
Associated Press (2011, July 13). Clear channel swipes at pandora with iheartradio revamp. Retrieved from http://ibnlive.in.com/news/clear-channel-swipes-at-pandora-with-iheartradio-revamp/167054-11.html
iHeartRadio Music Festival Video Announcment (2011, July 11). Retrieved July 24, 2011, from http://www.iheartradio.com/cc-common/iheartradio-music-festival/
Wall St. Cheat Sheet (2011, June 15). Pandora CEO Joseph Kennedy: Here's how we're going to take over the music world. Retrieved from http://wallstcheatsheet.com/stocks/pandora-ceo-joseph-kennedy-heres-how-were-going-to-take-over-the-music-world.html/

Images:
[iHeartRadio logo]. Retrieved July 24, 2011, from http://crackberry.com/i-heart-radio-rolls-out-their-latest-update-boasting-os-5-compatibility-more
[iHeartRadio Music Festival logo]. Retrieved July 24, 2011, from http://www.rickey.org/iheartradio-music-festival-hosted-by-ryan-seacrest/
[Pandora logo]. Retrieved July 24, 2011, from http://pocketnow.com/android/pandora-internet-radio-for-android-updated-to-version-159

Three Music Publishers You May Not Know

noreply@blogger.com (Allyson Urban) — Sun, 24 Jul 2011 20:14:00 +0000

Typically when we think of music publishing companies to license our songs and music, major names like BMG, EMI and Universal are what come to mind. Here is a look at three lesser known independent music publishers that are actually pretty big in their own right.

Chrysalis Music - http://www.chrysalismusic.com/

Although Los Angeles based, Chrysalis also has locations in Nashville, New York and abroad in countries such as the United Kingdom, Germany and France. They offer mechanical, synchronization and print licensing of works by a wide range of artists and songwriters they have on their roster. Finger Eleven, Gnarls Barkley, Estelle, Cee-Lo, the Yeah Yeah Yeahs, and even actor turned singer/songwriter Robert Downey Jr. are just some of the many artists whose songs are licensed by Chrysalis Music. When describing the company, President Kenny MacPherson states, “Our strength as a company is in our name and all that it stands for. It’s a brand name that points to our great legacy of finding and developing artists” (“Music Publishing,” n.d.).

Peer Music - http://www.peermusic.com/peermusic/index.cfm

Peer Music was established by music producer Ralph Peer back in 1928, and today has “32 offices in 28 countries around the world," hence why the company refers to itself as “the Global Independent” (“Company History," n.d.). In Peer Music’s catalog you’ll find many works by number of Latin artists as well as songwriters/singers like Melanie C (formerly of the Spice Girls), the late Buddy Holly and Ester Dean (who wrote chart toppers like Katy Perry’s “Firework” and Rihanna’s “S&M”). Peer Music provides many licenses for use of its clients’ material including synch licenses for advertising, TV, film, video games or other interactive media, as well as lyric reprint, adaptation/derivative and live performance licenses.

Bug Music - http://www.bugmusic.com/

Bug Music is a music publishing leader that was started in Los Angeles in 1975 by a man named Dan Bourgoise. His great love of the music industry has led to the company’s success and expansion to other offices in New York, Nashville, Munich and London (“About Us,” n.d.). Bug Music provides mechanical, print, synchronization, and performance licenses for songs by some talented clients like Bruno Mars, Kara DioGuardi, Iggy Pop and Tenacious D.

For a list of even more music publishers throughout the United States, the United Kingdom and Canada, visit http://www.songwriteruniverse.com/publisherlist.html.

References:

About Us. (n.d.). Bug Music. Retrieved July 24, 2011, from http://www.bugmusic.com/aboutus.aspx

Company History. (n.d.) Peer Music. Retrieved July 24, 2011, from http://www.peermusic.com/peermusic/index.cfm/about-us/company-history/

Music Publishing. (n.d.) Chrysalis Music Group USA. Retrieved July 24, 2011, from http://chrysalismusicusa.com/about/what-we-do/music-publishing/

Images:

[Bug Music logo]. Retrieved July 24, 2011, from http://www.hypebot.com/hypebot/2010/06/indie-publisher-bug-music-for-sale-for-300m.html

[Chrysalis Music logo]. Retrieved July 24, 2011, from http://www.musikmarkt.de/Aktuell/News/News/Warner-und-BMG-an-Chrysalis-interessiert-Freitag-05.-November-2010

[Peer Music logo]. Retrieved July 24, 2011, from http://www.musicnotes.com/publishers/peermusic.asp

An Entertainment Lawyer’s Point of View

noreply@blogger.com (Allyson Urban) — Sun, 26 Jun 2011 22:18:00 +0000

On June 24, 2011, I caught up with attorney, Nicole Weaver, ESQ., while she was taking a break at the Florida Bar conference. We had a nice chat about what it’s like to be an entertainment lawyer, some legalities to look out for when starting your own business and the importance of trusting in your legal counsel.

Allyson Urban (AU): How did you get started in Entertainment Law and how long have you been practicing?

Nicole Weaver (NW): I’ve been practicing since 2001. I got started in the entertainment industry when I was much younger and I didn’t like being in front of the camera, but I loved the industry as a whole. My grandfather was a lawyer so I was interested in the law as well. When I met an entertainment attorney during my entertainment career, I thought that’d be the perfect opportunity to meld together my two interests without having to be in front of the camera. I ended up interning with that same entertainment attorney to get a feel for what the business was all about. From there I went to law school and then got a job with SONY Pictures [out in California]. Unfortunately 9/11 happened the day after I passed the [Florida] bar, and the day after 9/11, SONY had to reorganize and could no longer provide me the position. I moved back to Florida and met the Florida Film Commissioner who was kind enough to share my name whenever he was asked if there was an attorney in the state that he would recommend. Thus I tripped and fell into my own practice. And it’s been a blessing to have this practice to build, and rely on and have fun with quite frankly.

AU: What has been your biggest challenge so far as an entertainment lawyer and what advice would you give to someone wanting to get into the field?

NW: I’d say the biggest challenge is that you’ve got to know people and know the law and know business – all in one whack. You’ve got to understand all those things in order to make somebody who knows nothing but business or the creative side of things listen to you and realize they may need to change their stance on something. It’s important to get people to trust you enough that they can rely on the fact that your education and background will stand on it’s own and that your advice is good advice. A lot of times what they’ll do is listen to your advice and then go and do exactly the opposite, and then they never succeed on that front and always end up coming back. You don’t want people to learn things the hard way considering they’re paying you, and you want them to have a good experience from what they’re doing.

AU: What are the most common types of contracts that you deal with?

Nicole Weaver

NW: It’s between investors of companies or people building their companies to begin with. I do a lot of operation agreements, or that type of thing, where two people are getting together and are going to make a film happen; or two people are getting together to be a production or music company. I make contracts for them to make sure they start off on the right foot to begin with where everybody understands what they are supposed to be doing, and to make sure if somebody isn’t doing it they have a recourse at it. More specifically as far as the entertainment industry, I see primarily film contracts and contracting the crew and members of the cast.

AU: For my business plan for school I’m developing an Orlando nightclub that would feature live entertainment performers. For someone wanting to start a live entertainment venue such as that, what would be the first legal responsibilities you’d suggest they take care of?

NW: First they’d need to start their business, so incorporate in some way, form or fashion. If you have partners, again make sure that everyone has their duties and responsibilities spelled out to earn their portion of the business. Get it all reduced to writing who’s putting in the money and who’s putting in the services, etc., and do that quickly. Then of course you’d need liquor licenses, ASCAP/BMI public performance licenses and various ordinances.

AU: What would be the biggest misconception or the most common legal error that you see for people starting these live entertainment venues?

NW: It’s funny because they pick up the big things that they see, like getting the performance licenses, but the biggest mistake is not getting something reduced to writing as far as who does what in the business, how to get out of the business if they want out and how the business is valued. [People are often] jumping straight in with both feet without putting the touches on the legal aspects between themselves and whoever they’re dealing with. The other thing would be if you have a pure investor, did you disclose everything that you need to disclose for the amount that they’re investing? If someone is a pure investor versus someone being an investor/business owner, there are a lot of ‘i’’s to dot and ‘t’’s to cross because you have to make sure you comply with both state and federal regulations if there is a certain amount of money involved. Often times people are just trying to get the door open so they can earn some money, but in the meantime they’re not putting in the time and effort to make sure when that money comes in that it’s a stable business that it’s coming in to.

AU: Since you practice in Florida but have also done work in California, are there any entertainment laws that apply specifically to this state and aren’t seen in other places, or vice versa? Or is it just pretty standard across the board?

NW: For the most part it’s standard. Florida has some unique views on privacy laws that are a little different from California. Family Law is completely different as well in California than it is here in Florida. But as far as Entertainment Law, there are not terrible differences, but the main one I see is with the privacy laws.

AU: What would be your main piece of advice to someone wanting to obtain legal counsel for the start of their new business?

NW: Find counsel that you trust, and rely on them, absolutely, 100%. Make sure you get represented by someone in your specific type of business and that they know the ins and outs involved. For example, you wouldn’t want just any attorney handling your real estate contracts, but rather you’d want someone who practices in that field quite often. You want to trust them so that even if the path they suggest is more costly or time consuming than you want, you still know that is the direction you need to go.

From the short time I spent talking to Nicole Weaver, I got the sense that she is as trustworthy as entertainment attorneys come. I plan to keep her number on file for any future Florida entertainment establishment I may start, that’s for sure! When I asked her hourly rate, she let me know it can possibly fluctuate up or down depending on the state of the economy and situation involved, but has held pretty steady at $225.00 over the last couple of years. She has a passion for assisting those “starting off on the ground floor” and being involved in something that is “new and coming to fruition.” If you are that start-up company seeking an entertainment lawyer in Florida and are interested in speaking with Ms. Weaver yourself, you can find her contact information on her website - http://www.legalweaver.com.

In Legal News...

noreply@blogger.com (Allyson Urban) — Tue, 07 Jun 2011 03:02:00 +0000

There are legal battles happening everyday in the entertainment industry, specifically when it comes to protecting personal image and intellectual property. Here is a look at some recent decisions that have played out concerning the music business.

Shirley Jones

1.) It was recently determined in a court case involving the mom from the Partridge Family, Shirley Jones, that choosing to walk the red carpet means you are allowing images of yourself to be taken there and sold (Gardener, "Judge: Celebrities" 2011). According to Eriq Gardener of The Hollywood Reporter, Jones claimed that Corbis Corporation, a company that licenses the rights to digital images, "breached her publicity rights" by having red carpet photos of her on their website. The judge ruled in favor of Corbis though, saying Jones did not deny "that it is the custom and practice in the entertainment industry that red carpet photographs are widely used and disseminated," and common practice to "pose for photographers and agree to their requests to smile or to look in their direction" ("Judge: Celebrities"). I agree with the court's ruling and I'm not sure why Jones thought it strange when pictures of her in that public, routine picture-taking setting were being distributed. Well fair warning all you up-and-coming artists - the red carpet is where you go to be seen and where photographers will be waiting to legally make a buck off your image.

2.) On April 11, 2011, former governor of Florida, Charlie Crist, released the following YouTube video apology to David Byrne of the Talking Heads:

This apology came as a result of a lawsuit the singer filed against Crist for using the Talking Heads' song "Road to Nowhere" in a 2010 Senate campaign video without permission from the band ("Crist, Talking Heads," 2011). Although it was not disclosed if Bryne received the $1 million he was asking Crist for ("Crist, Talking Heads"), we know he is at least happy to have won the case and receive a public apology from the politician for infringing on his copyright. Apparently using songs in political campaign ads without first receiving the necessary permissions is done pretty often by those running for office ("Crist, Talking Heads"), and Bryne stated his "hope is that by standing up to this practice, maybe it can be made to be a less common option, or better yet an option that is never taken in the future." I hope that to be true as well because we don't want to elect officials to help enforce laws that they can't even adhere to themselves.

3.) Last month, popular music file sharing site, LimeWire finally settled with the Recording Industry Association of America (RIAA) after "five years of heated litigation" (Gardener, "Record Labels Settle" 2011). LimeWire was already hit with an injunction in 2010 ("Record Labels Settle"), much to the dismay of free music lovers, but the jury trial was still going in order to determine the actual damages LimeWire incurred on the recording industry by distributing those free music files and infringing on their musical copyrights. Mitch Bainwol, Chairman and CEO of RIAA, seems very satisfied with the $105 million settlement check they will receive and states, "this hard fought victory is reason for celebration by the entire music community, its fans and the legal services that play by the rules" ("Record Labels Settle"). I agree. Anyone on LimeWire's side though needn't feel too upset about the outcome considering the company could have ended up paying out billions of dollars had the lower settlement not been reached. If you support the RIAA's endeavors to save the music industry and are interested to know what is to come now that the LimeWire battle is over - check out a sneak peek of their next fight: http://www.hollywoodreporter.com/thr-esq/riaa-picks-a-new-legal-190232

References:
Crist, Talking Heads singer David Byrne settle lawsuit. (2011, April 12). ABC Action News. Retrieved from http://www.abcactionnews.com/dpp/news/state/crist,-talking-heads-singer-david-byrne-settle-lawsuit
Gardner, E. (2011, May 31). Judge: Celebrities who walk red carpets consent to photos being sold. Hollywood, Esq. Retrieved from http://www.hollywoodreporter.com/thr-esq/judge-celebrities-who-walk-red-193320
---. (2011, May 12). Record labels settle massive limewire copyright lawsuit. Hollywood, Esq. Retrieved from http://www.hollywoodreporter.com/thr-esq/record-labels-settle-massive-limewire-188028
Images:
[Shirley Jones]. Retrieved June 6, 2011, from http://musiclinernotes.wordpress.com/2010/08/02/shirley-jones/
[LimeWire logo]. Retrieved June 6, 2011, from http://news.cnet.com/8301-31001_3-20006958-261.html

Artist Management 101 with Joe Mulvihill

noreply@blogger.com (Allyson Urban) — Sun, 22 May 2011 18:10:00 +0000

On May 20, 2011, I got to chat with Joe Mulvihill, artist manager at LiveWire Entertainment in Orlando, Florida. After starting out as a performer himself at Universal Studios, Joe worked his way up in the entertainment industry to now managing great performers like Boyz II Men, En Vogue, Salt-N-Pepa, Wayne Brady and Joey Fatone. He’s a very busy man with a large artist roster to manage, and here is what he had to share about being an artist manager when I was fortunate enough to snag a little bit of his time.

Allyson: You have a pretty good bunch to manage, how do you juggle them all?

Joe: Well, I get a little bit of help. The key to the whole thing is connecting dots and keeping a plan on course. There’s no real science to it. A good manager is somebody who keeps the focus of the long-term vision of the artist’s brand. You’ve got to keep it all in check. I probably talk to each one of my acts every day even if it’s just for two or three minutes. Some are more hands on than others - some are more self-sufficient while others have a lot going on. Boyz II Men for instance have something going on everyday. There’s always something to juggle and manage.

Allyson: How did you become an artist manager?

Joe: I worked at Universal Studios for a long time and loved the entertainment business. Then I started working for the Orlando Magic in entertainment, then NBA teams, NFL teams, and MLB teams with entertainment across the board, from in between innings to in between time-outs – all sorts of stuff. At the time the group ‘N SYNC was just starting and I had worked with all those guys at Universal Studios. On a number of occasions they said ‘come work for us,’ but I was too busy doing my own thing. Then I saw a video from them in Europe with people chasing the bus and things when no one had heard of them yet in the United States. They called me again and said ‘hey, we want you to come work for us,’ and I said ‘you know what, maybe I’ll just start helping you out a little bit.’ Then I got caught up in that whole circle with ‘N SYNC and, next thing you know, I was their road manager and six or seven years flew by. They became the hottest thing going, and when you’re with the hottest thing going, everyone looks at you like, ‘oh you must be smart because you’re with the hottest group.’ From there I started getting calls from other acts because they got to know me.

Allyson: You talked a little bit already about how you stay in touch with your artists on a day-to-day basis, but what are some of your other daily tasks as an artist manager?

Joe: I wake up and try to think of a new position for the artist. For example, I probably take an hour to think about Joey Fatone’s future – where do I want to go with him; where does he want to go; what goals is he not accomplishing. Same thing with Boyz II Men, same thing with Wayne, etc. I treat it just like I’m selling a computer, only difference is it’s a person, or a brand or music. I feel like this business never really sleeps. I give [my acts] my home phone number so they can get ahold of me when they’re in Europe, Japan or Australia. I’ve gotten 3am phone calls before - it’s just part of the business.

Allyson: What would you say is the most important thing about being an artist manager?

Joe: I’ve learned that you’ve got to tell [the artist] the truth. I’ve noticed in this business nobody wants to give an artist bad news, but I’ve learned to give them the bad news [when it comes up] because it’s not going to change. You need to deliver that bad news fast and it should never come from anyone else but you [as the manager]. Also, you and the artist have to have fun or there’s no reason to work together. I stress to all my crew that ‘if you’re not having fun, let’s think about what we have to do to have fun,’ because this all could end tomorrow. You can’t entertain and make people happy if you’re miserable.


Joe Mulvihill (2nd from the right) having fun with some of his artists (Joey Fatone and Nathan Morris from Boyz II Men) and the owners of Animal Kingdom at the 2011 Kentucky Derby, as they all celebrate their stake in the winning horse.

Allyson: What has been your greatest challenge as an artist manager so far?

Joe: The greatest challenge is doing the right thing for the brand, even though it may be stressful for the artist or they don’t want to do it, or the artist doesn’t feel like it’s the right move. I have to keep them focused on the long-term. In this business everyone is surrounded by ‘yes’ men. Even though you do have to stroke artist egos sometimes, you can’t always say ‘oh ok, nevermind’ and let them get out of something they might not be crazy about if it is ultimately going to better their brand. You have to get them to know they’re doing the right thing.

Allyson: If you were to give advice to someone trying to get into artist management, what would it be?

Joe: Do it because you want to see the act win, not because of yourself. As soon as you start doing things for yourself you lose focus. You have to do everything for the act; the right thing for the act. You have to earn their trust in this business. Also, keep it simple (don’t over think things), and don’t be afraid to make a mistake because we’re all only human.

The Importance of Image and Stage Presence

noreply@blogger.com (Allyson Urban) — Sun, 08 May 2011 20:49:00 +0000

You'd think if a singer has killer pipes, they'd get picked up in the music industry for pure talent alone, but that usually isn't the case. Take the singing competition American Idol for example. A lot of performers come through season after season that are amazing vocally, but they are missing something that connects with the American voting public and they don't make it to the end. Many of us where shocked when Tamyra Gray got voted off Season 1, because it seemed like she was a much stronger singer than Nikki McKibbin and Justin Guarini who surpassed her (Season 1, n.d.).

Tamyra Gray

Although an amazing voice counts for a lot, image and stage presence are key factors that also play into music industry success for any artist. As entertainment lawyers Xavier Frascogna & H. Lee Hetherington (2004) state, "constantly and objectively [measuring] the overall impression the artist makes on his or her target audience on and off the stage" is essential for "career survival" (p. 82). Perhaps Tamyra wasn't standing out enough with her image or making a big enough impact on her target audience in order to gain enough votes to stay longer in the Idol competition.

Britney Spears

While it seems some great singers get the boot too early on in their music endeavors, others that are less vocally impressive seem to have it made in the music business. If top selling artists like the Black Eyed Peas (BEP) and Britney Spears came out with slow a capella records, it's not likely anyone would be interested. BEP and Britney have great looks and fun dance tracks that allow them to put on exciting live shows. These factors outshine their lack of amazing vocal ability and are what have built them into the superstars they are.

Britney is not that strong of a singer, but she developed a very strong fan base wearing outfits like what you see to the right and dancing her butt off on stage. Even when she went through a pretty public personal crisis everyone was rooting for her to get back on track and return to the strong performer that she had been. With the success of her recent albums and concert tours, it appears she has done just that.

Doing a lot of humanitarian work definitely helps to boost BEP's overall public image, in addition to wearing crazy, unique outfits on stage and putting on fun, high energy performances. If you happened to miss BEP performing at this year's superbowl halftime show, here it is for your viewing pleasure:

Although they sound pretty bad, the whole show is such a spectacle and the overall performance so entertaining that you can't help but watch. BEP's image and stage presence are what save them - case and point why those two factors are essential to an artist's career.

References

Frascogna, X. M., & Hetherington, H. L. (2004). This business of artist management (4^th ed.). New York, NY: Billboard Books.

Season 1 Top 10 Contestants. (n.d.). Retrieved May 8, 2011, from http://www.americanidol.com/archive/contestants/season1/

Images
[Black Eyed Peas]. Retrieved May 8, 2011, from http://www.ticketsmore.com/black-eyed-peas-concert-tickets/index.html
[Britney Spears]. Retrieved May 8, 2011, from http://www.gambling911.com/Britney-Spears-Robbie-Williams-110806.html
[Tamyra Gray]. Retrieved May 8, 2011, from http://remote.lohudblogs.com/2008/01/13/top-20-idol-contestants-of-all-time-10-tamyra-gray/

Entertainment Negotiation Insight from Lindsey Setting

noreply@blogger.com (Allyson Urban) — Sun, 17 Apr 2011 02:10:00 +0000

On April 13, 2011, I sat down with Lindsey Setting, Contracts Manager for the Talent Casting, Booking and Contracts Department of a well-known central Florida theme park. Having been in this role for over 2 years now, Lindsey has had plenty of experience negotiating contract terms with professional, in-park entertainers and she knows how to walk away with a successful new hire or extension for the company.

Allyson: What are the types of negotiations that you deal with on a daily basis?

Lindsey: I do contract negotiations with performers – actors, singers and dancers – represented by the [Actors’ Equity Association] union. I also negotiate with agents of some of the performers.

Allyson: How do you deal with negative emotions received from those you are negotiating with?

Lindsey: It’s really a case by case basis. I just focus on the positive and let them know if I’m not able to give them exactly what they want that it doesn’t take away from their value. I stress that it has nothing to do with their performance, just that it’s all we can do right now. I also do not promise anything in the future. If the performer continues to push for more then that’s where I have to give them a bottom line.

Allyson: How to things such as “role” and “status” play into your negotiations?

Lindsey: “Role” and “status” go hand-in-hand for us. If the performer has a higher skill-set/status, we may have the ability to offer them more. If the role we’re casting for is hard to fill (such as a singer, dancer and puppeteer combination role), we may negotiate higher to get someone with that extensive skill-set, because we have to compete with the outside [entertainment] market as well.

Lindsey Setting

Allyson: Do you find it is important to maintain a good working relationship with most of the people you negotiate with? If so, how do you maintain this relationship when the deal is less favorable to the other side and/or you can’t give them what they’re asking for?

Lindsey: Yes, it’s very important to maintain a good working relationship with the performers, especially when we need to move them around to other shows [in the parks]. If we have a good relationship with them, they’re more likely to do so. If a deal seems less favorable to the performer, I explain to them the variety they can be involved in with a move, or a new show here, and get them to look at the bigger picture. It’s always important to be respectful. It’s so on-going with us, unlike outside areas like Broadway. We want to maintain a good relationship with the cast in hopes they’ll stay if offered in the future.

Allyson: How do you persuade someone to accept a job if they are on the fence?

Lindsey: I always put it on their shoulders and tell them they have to do what’s best for them. If we don’t pressure them, 9 out of 10 times they’ll come back to us [and accept]. This is where we also have to reiterate the positive and sell the stability of the company (i.e. a year-long contract with full benefits). We have to get them to see the strength of the offer and that it’s more than their pay, and it truly is their decision.

Allyson: What advice would you give to someone just starting out as a negotiator?

Lindsey: Use common sense and keep it focused on the individual even if they bring up another candidate or another performer’s contract. If the performer asks for more money, always ask them for a number – how much more they were thinking. If they have a high request, don’t give it to them right away but say something like “I’m pretty sure we’re not going to be able to reach this, but I’ll do what I can” [and then talk it through with the team before getting back to the performer]. When talking with an agent instead, be especially prepared [with numbers and data] before calling, in order to minimize the time spent going back and forth between you, the agent and the performer. Also if you say “that’s it,” stick to it. You don’t want to lose your credibility for the next go round.

Music Marketing Tactics that Make People Take a Second Look...or Listen

noreply@blogger.com (Allyson Urban) — Mon, 21 Mar 2011 03:38:00 +0000

So your band has written some great songs and finished recording an album. Now you need to get your music out there and build a following. You'll have to come to terms with the fact that you're not going to make much money at first until people actually know who you are and care enough to pay for your music and merchandise (Herbert, 2010). (If you really love playing music, then it shouldn't be all about the money anyway, right?) Simply giving your music away in the beginning and performing as often as you can (wherever you can) are two major ways to help spread word of your group and develop the fan base that is needed to keep your musical career afloat.

Here are some interesting, more specific marketing ideas I found that you can use to get people listening, and later on down the road make some decent music sales:

1.) Put a "squeeze page" on your website (Herbert, 2010). Similar to the picture to the left, a squeeze page is where you can post a video of your group speaking directly to potential new fans. After giving them a brief intro to who you are, tell them they can score a free copy of your album by joining your mailing list. This way you are are gaining name and contact information from those hearing that free music. They can spread your music and you have a way to get in touch with them later on to further promote your band.

2.) Play live in places other than typical performance venues in order to attract attention. Knab (2003) suggests being "the musical entertainment for your favorite local record store." Or see about playing for free at local schools, parks and/or restaurants where your target listening demographic is likely to hang out.

3.) A couple creative printed marketing ideas are promotional Post-It notes and business cards with lyrics (Knab, 2003). Instead of handing out regular flyers promoting your next live show, album or website, hand out pre-printed Post-It notes with that information so the ideas "stick" better with people. If you plan to hand out business cards to prospective music business partners, have them printed with some good lyrics from your songs or even some cool facts about the band to catch their attention.

4.) If you have the resources and are ready to sell, do something different with your album packaging. Although most music albums are sold digitally these days, you can hang on to physical CD sales if you step outside of the normal jewel case or cardboard sleeve. For example, Indonesian group Tika and the Dissidents released their 2009 album, The Headless Songstress, "wrapped in a thick floral fabric" including "a free notebook in which listeners could write their own lyrics, as well as a booklet full of photographs of old Jakarta [Indonesia]" (Thee, 2011). Their album turned out to be one of the best local records of the year in Jakarta.

If you can be creative in your music marketing techniques, you will have a better chance of getting your band heard and eventually making a profit off of doing what you love. For some other unique guerrilla music marketing ideas, go to http://www.musicbizacademy.com/knab/articles/gmm_suggest.htm. To read about some creative marketing approaches taken by specific music groups like Tika and the Dissidents, check out this article from the Jakarta Globe.com: http://www.thejakartaglobe.com/lifeandtimes/the-art-of-music-marketing/430176.

References
Herbert, E. (2010, March 13). The evolvor music marketing manifesto for 2010. Retrieved March 20, 2011, from http://evolvor.com/2010/03/13/the-evolvor-music-marketing-manifesto-for-2010/

Knab, C. (2003, April). Guerrilla music marketing suggestions. Retrieved March 20, 2011, from http://www.musicbizacademy.com/knab/articles/gmm_suggest.htm

Thee, M. (2011, March 19). The art of music (marketing). Retrieved March 20, 2011, from http://www.thejakartaglobe.com/lifeandtimes/the-art-of-music-marketing/430176

Images
[Squeeze page]. Retrieved March 20, 2011, from http://www.alberthallado.com/video-squeeze-page-template-free-download-its-my-birthday/
[Post-it notes]. Retrieved March 20, 2011, from http://www.lifehack.org/articles/lifehack/post-it-note-calendar.html
[Tika and the dissidents album]. Retrieved March 20, 2011, from http://omuniuum.net/cd-the-headless-songstress-tika-the-dissidents/

Adele Hits it Big with New Album, '21'

noreply@blogger.com (Allyson Urban) — Sun, 06 Mar 2011 20:57:00 +0000

While some artists struggle to make hit follow-up albums after their initial debut records, Adele Adkins is one talented British singer who has had no such problem. After her debut album, 19, Adele has created a smash follow-up, appropriately entitled 21, to indicate an increase in age and experience when she wrote the songs on the record.

Adele

Although 19 only made it to No. 10 on the Billboard U.S. pop album chart, Adele's follow-up album went straight to No. 1 with "the biggest sales total for any release since November [2010]" (Caulfield, 2011). Unlike other No. 1 debut albums in the U.S., what makes this new album so significant is its strength in digital sales. Based on Nielsen SoundScan data, "62 percent of the sales for Adele's 21 in its first week out were for the digital album version, with only 38 percent of its overall 352,000 units sold coming from CD sales" (Perpetua, 2011). With Justin Bieber's Never Say Never: Remixes coming in a distant second last week with only 102,000 units sold, Adele would have made No. 1 on digital sales alone (Perpetua, 2011). If that's not a testament to how influential the digital age has become and the growing obsoleteness of CDs, then I don't know what is.

Adele's music sells because she isn't a cookie cutter star and doesn't rely on Hollywood glitz and glam to get recognized. All she needs is her raspy, jazz voice and relatable, raw lyrics to hit home with listeners and draw them in. She also has a down-to-earth, enjoyable personality that will make you fall for her even more. (Watch the recent RollingStones video at the following link to see what I mean: http://www.rollingstone.com/music/videos/adele-on-21-the-songs-on-here-are-the-most-articulate-ive-ever-written-20110216.) Both the everyday American public and other U.S. celebrities can't get enough of this soul artist right now. Take Kelly Clarkson's tweet from early this morning where she says "I have been listening to Adele's new album pretty much non-stop and oh my goodness what a talented girl! If you don't have her album yet, trust me you need it!". I definitely agree.

Get a nice taste of Adele's new album in this interview with New York Post:

References
Caulfield, K. (2011, March 2). Pop singer Adele leads U.S., UK pop album charts. Retrieved March 6, 2011, from http://www.reuters.com/article/2011/03/02/us-sales-idUSTRE7216Y220110302

Perpetua, M. (2011, March 4). Adele hits number one on huge digital sales. Retrieved March 6, 2011, from http://www.rollingstone.com/music/news/adele-hits-number-one-on-huge-digital-sales-20110304

Image:
Retrieved March 6, 2011, from http://www.thisiswomen.com/adele-adkins/

A Look at RIAA

noreply@blogger.com (Allyson Urban) — Mon, 28 Feb 2011 01:30:00 +0000

According to its website, “The Recording Industry Association of America (RIAA) is the trade organization that supports and promotes the creative and financial vitality of the major music companies.” Besides having the fun job of certifying top-selling music albums with the coveted “Gold®, Platinum®, Multi-Platinum™ and Diamond” awards, RIAA’s main focus is putting an end to digital music piracy and protecting “the intellectual property and First Amendment rights of artists and music labels” (“For Students Doing Reports,” n.d.).

For those who illegally download music, you may be thinking how is it really going to hurt the rich and famous artists like Kanye West if I download their albums for free? Though the piracy of Kayne’s albums may not make too significant of a dent in his individual earnings, we have to think about the bigger picture. To make those Kanye albums it takes a lot more than the artist himself. According to RIAA, “audio engineers, computer technicians, talent scouts, marketing specialists, producers, [and] publishers” are just some examples of all the people it takes to finish an album and get it out to the public, and whose jobs are being cut-back with the decline of album sales. Also, opposite the Kanye Wests of the industry, we have to remember the indie artists who are just starting out with almost no budget for their first album, yet decide to pursue their passion and give it everything they have. These new artists aren’t seeing any money at all for their hard work if their music is just downloaded for free.

Here are some eye-opening piracy statistics from the RIAA website:

- From 2004 through 2009 alone, approximately 30 billion songs were illegally downloaded on file-sharing networks.

- Only 37% of music acquired by U.S. consumers in 2009 was paid for.

- Global music piracy [between both street and online methods] causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, [and] a loss of $2.7 billion in workers' earnings.

RIAA has led the fight against online music piracy by opening numerous lawsuits against companies and individuals stealing music, in order to collect the rightful monies owed to the industry. With the quick spread of internet data however, they realize that it is impossible to catch all abusers, especially catching all abusers on their own. The organization has developed a better strategy in recent years by joining forces with major internet service providers, like universities, to spread word of the consequences of illegal downloads and to help catch the big offenders.

As long as this digital age continues to expand and newer means of illegal music downloading and file-sharing are made possible, RIAA will continue its fight against music theft in order to save the music industry. We can all do our part to help RIAA in its quest by simply paying for the music we listen to.

Reference:

For Students Doing Reports. (n.d.). Retrieved February 24, 2011, from http://www.riaa.com/faq.php

Image:

[riaa logo]. Retrieved February 27, 2011, from http://www.wired.com/threatlevel/2009/04/obama-taps-fift/

Apple CEO, Steve Jobs, Talks About "How to Live Before You Die"

noreply@blogger.com (Allyson Urban) — Sun, 13 Feb 2011 13:17:00 +0000

Innovations like iTunes, the iPod and the iPhone, that have made (and are continuing to make) such an impact on the music industry, were all started by a man named Steve Jobs.

Steve Jobs

Although he never graduated from college, Jobs followed the new technology and designs he was passionate about, and in the end walked away as CEO of one of the biggest companies in the world today - Apple (Jobs, 2005). In his spare time, Jobs also founded Pixar Animation Studios where Toy Story, the first computer animated feature film, was created.

In June 2005, Jobs was asked to speak at Stanford University's commencement ceremony. He spoke about his life and gave the graduating students some words of wisdom about "connecting the dots," "love and loss," and even death (Jobs, 2005). Although the speech is almost six years old now, the advise Jobs gives is timeless and can apply to us all, no matter what our chosen industry or profession.

First Jobs (2005) advises that,"you can't connect the dots looking forward, you can only connect them looking backwards." By this he means that you can't foresee exactly how the actions you take now are going to affect you later on in life, you can only look back later to see how those actions turned out. Because you can't predict what will happen later on, you have to trust your gut and not be afraid to take risks now. Or, as Jobs (2005) says, "you have to trust that the dots will somehow connect in your future." If new artists and musicians didn't take risks with their music, we wouldn't have some of the inventive sounds and successful collaborations we hear today. For me personally, if I hadn't left upstate New York and accepted my first professional internship in Florida for the Theme Park Merchandise department of Disney, I wouldn't have had the opportunity to move to the Entertainment sector of the company and work with the great Talent Casting team that I do today.

In the next segment of Jobs' 2005 Stanford Commencement Ceremony speech, he says that "you've got to find what you love," and to "keep looking" and "don't settle" until you find it. Sometimes you'll come upon bumps in the road, just as he did when he was at first fired from Apple after having a falling out with the person hired to originally run the company with him. This lay-off turned out to be a blessing in disguise however because he realized that despite this setback, he still loved what he did (Jobs, 2005). It was in this time that he decided to start over and developed some other great projects, like a little company called Pixar. Things then came full circle when Apple ended up hiring Jobs back and he resumed his reign as CEO. Jobs knew what he loved and just kept going after it, and so should we. I have a passion for music and a desire to always work in the entertainment industry. Whether it be staying with Talent Casting at Disney, or one day moving on to another career in the music business, I will continue to pursue what I love.

In the last segment of Jobs' 2005 speech, he talks about death. He says, "remembering that you are going to die is the best way I know to avoid the trap of thinking that you have something to lose." At the time of the speech, Jobs had recently survived pancreatic cancer when it turned out he had a rare form that could actually be cured with an operation. When pondering the initial diagnosis that he only had three to six months to live, he had been face to face with death. He quickly realized that yes, "no one wants to die," but it's a "destination we all share" (Jobs, 2005). Knowing that you will one day die is a powerful thing because it gets you to enjoy what you have today, and to try to always keep living life to the fullest so you are satisfied with what you've accomplished when it's your time to go. Because you have limited time, don't try to live in someone else's mold and do what makes you happy. I know I will.

Reference
Jobs, S. (2005, June). Steve Jobs: How to live before you die. Retrieved February 12, 2011, from http://www.ted.com/talks/steve_jobs_how_to_live_before_you_die.html

Image source
[Steve Jobs]. Retrieved February 12, 2011, from http://www.allaboutstevejobs.com/pics/life/2007-2009/2007-2009.html

An Interview with Brad Ross

noreply@blogger.com (Allyson Urban) — Sat, 22 Jan 2011 22:56:00 +0000

Recently, I had the chance to interview Brad Ross, Talent Booking Director for Entertainment at the most popular theme park and resort in Orlando, Florida. Brad has over 25 years of experience in the music industry, and he gave me some insight on how he started from the ground up and how he manages stakeholders in his position today.

Allyson: Growing up, did you always know you wanted to work in the music industry? (i.e. Were you a performer or an avid music fan?)
Brad: I played the French Horn, but had no idea I'd end up doing what I do. I always loved music, but I thought I was going to be a dentist until I met my college roommate [at Tufts University]. He had a 12-string acoustic guitar and I said 'you're really good, you should start a band.' Then my friend said 'you get me a gig and I'll get a band together,' and that's what I did [back in 1983]. I went home and told my dad I was managing a band and he told me that he grew up with Ron Delsener, the largest promoter in New York City at the time. I found a picture of Ron from my Dad's wedding and sent it on a postcard to him asking for an interview. Apparently he liked that because I got a call to come in and interview for an internship and got it.

Allyson: How long did it take to work your way up in the industry and what jobs did you have along the way?
Brad: At Ron Delsener Enterprises, I started working with the production manager, running for bands – load-in to load-out from 8am-2am. I did that for a couple [college] summers, but Ron said that I really had to go to William Morris Agency and get trained. After applying a few times out of college, I finally got into the mailroom at William Morris in September of 1986. At this point I had to sell ice cream on the beach on the weekends just to make ends meet. I worked my way up to theater casting, then to assisting an agent in the music department. In 1988, I got an interview at Arista Records and I got a job there in production. I wanted to be in artist development however and got my break when I tore a knee ligament playing basketball and was coming into work anyway, even though I was supposed to be staying home for six weeks. [Because of my dedication], my boss let me move to artist development after only a year. I was working under Clive Davis at a good time in the industry, when labels like Arista Nashville, LaFace and Bad Boy Records were forming, and artists like Brooks & Dunn, Alan Jackson, Sarah McLachlan, Toni Braxton, TLC and Biggie Smalls were on the rise. After being at Arista from 1988-1995, I was laid off when Arista artist development heads changed. After temping and managing another band for a little while, I got a job at ICM Talent Agency in the adult contemporary music department. A year later an agent spot opened up and I became an agent.

Brad Ros

Allyson: How did you end up leaving NYC to come to work in Florida?
Brad: I was at ICM until 2000 when I sold Pat Benetar to [perform] at Universal Orlando’s Mardi Gras event. I was later invited down for Universal’s New Year’s celebration and got to know the Universal Studios buyer. When the booking job opened up [with my current employer], they tried to get Universal's buyer, but since he didn't want to leave Universal, he suggested my name. I made the decision to take the job [in Orlando] and move to Florida with my wife to settle down and start raising a family. The job was supposed to be just booking for [the company’s] cruise line, but morphed into something bigger. [Today Brad books name talent acts for many major theme park events throughout the year.] The job [here] is perfect for me because it molds everything from my [entertainment industry] experience into this one job.

Allyson: Do you have any words of advice for someone just starting out in the music business?
Brad: Have a working knowledge of what makes up the industry and know what you want to do. You do have to get in when you can and take something, but you need to narrow down where you ultimately want to be. If you got the exact job you wanted and went in on Monday to do it - what would that job be? Figure that out before you move forward. Also, a lot of networking is involved [and crucial to get ahead].

Allyson: My current class at Full Sail University is Project and Team Management. Do you have any advice for managing stakeholders when booking acts for major theme park events?
Brad: There are two sets of stakeholders to handle in my job - the labels, agents and artist manager side, and then the internal [company] contact side. To maintain industry contacts I keep in touch with labels and talk to agents on a regular basis. I go to conventions in NYC, Nashville, Las Vegas and LA to see all the agents and new artists they're trying to market. I have to know up-and-coming artists so I can book them early because once they blow up it becomes too expensive to book them. We have Taio Cruz coming to [an event] this year because I caught him right on the up before he got big. Inside [the company] you have to have the right approach [and the proper business etiquette]. You have to work with other internal departments to get potential bookings approved, and that can be challenging. I've learned that if I'm right and have the facts to back it up, I can get the approvals I need. I don't give up when I know my picks are the right ones.

Apparently All You Need is an iPhone

noreply@blogger.com (Allyson Urban) — Tue, 11 Jan 2011 04:38:00 +0000

Do you want to start a band, but are lacking some instruments? Are you an up and coming artist ready to put out your first music video, but do not have the budget to pay for video production? If you are answering yes to these questions while holding an iPhone in your hand, then your problems are solved.

The music business is constantly evolving to incorporate new technology, and Apple's iPhone is no exception to that incorporation. Today, if you have the right apps on your iPhone, it's become possible to record a whole album without ever picking up an actual instrument. Check out the YouTube video below of the band Atomic Tom playing their single "Take Me Out," live on a New York City Subway using, as you guessed it, only their iPhones.

Using the VonBruno Microphone, DrumMeister, Pocket Guitar, iShred and Virtuoso Piano apps, you too can form your very own iPhone band.

After you are done composing songs on your iPhone, you can also use it to cut costs on your music video projects. This music video, "Play," by band BJSR, was filmed entirely on an iPhone.

I don't know about you, but I can't tell the difference between this low budget video and many major music video productions out there today. You can go to the following link to watch an interesting behind the scenes look at how they did it and gain inspiration for your own iPhone shoot. http://www.youtube.com/watch?v=2_NsyvY62k4

Despite the downturn in record sales because of the expansion of digital albums, technological innovations in music are still a beautiful thing. Indie artists are relishing in the fact that the digital age allows them to get their music out there at low cost and without what used to be the necessity of a major label deal. Many major label artists may be hindered by their current lack of CD sales, but even they can't deny how cool it is that, should they misplace their regular microphone or guitar, they can still carry on a performance if there's an iPhone around.

References:

Atomic Tom. (2010, October 14) “Take me out.” Online video clip. YouTube. Retrieved January 10, 2011, from http://www.youtube.com/watch?v=NAllFWSl998

Elliott, A. (2010, December). 10 compelling music videos shot on the apple iphone. Retrieved January 10, 2011, from http://mashable.com/2010/12/02/iphone-music-videos/

The Keys to Writing a Good Song

noreply@blogger.com (Allyson Urban) — Tue, 07 Dec 2010 04:49:00 +0000

To break out in music industry as an individual singer or band, you have to start with a good song. Without that hit single, you may never achieve the level of success you are aiming for as an artist. Although not every music group can be the next Beatles, or every single artist the next Taylor Swift, having the know-how to write a successful song is the second step on your way to the top (after first having the musical talent of course).

There are four key factors to think about when writing songs, according to Bill Pere, President of the Connecticut Songwriters Association:

-Effectiveness

-Craftsmanship

-Breadth of Appeal

-Depth of Appeal

You want your songs to be effective in evoking some kind of emotion or action in the listener. If you are trying to produce a piece of music that makes the listener feel good or, on the flip side, allows them to relate to the sadness in it, and if the listener actually reacts with you the emotion you wanted to bring forth, then you have a good song. If you write a piece that really catches the attention of others, and in turn causes them to spread the word about your music or actually gets them to spend money adding your song or CD to their collection, then you have become an effective songwriter.

To be a good craftsman is another important aspect to focus on when writing a song. The Beatles are a group that had a knack for putting the right lyrics with the right melodies and the right instrumentation that led them to become one of the most successful pop-rock bands of all time. Crafting the perfect song takes time, but to really pay attention to all the layers and elements of music as you are writing, and fitting them all creatively together, will help.

Lastly think about who you are trying to appeal to with your songs. If you can reach a wide range of people at a deep level, then you have achieved both "breadth" and "depth of appeal" with your music (Pere, 2010). Taylor Swift, for example, is a country singer/songwriter who branched out onto the pop market, widening her appeal. Although she reaches more people crossing between genres, it is her young girl fan base that is to thank for making her so popular. Taylor writes songs that other girls her age can relate to, increasing the level of appeal to them and selling more and more albums to put her at the top of the charts.

Take the time to consider these key aspects of songwriting when you sit down to write your next song and, just like the Beatles and Taylor Swift, you could soon have hit on your own hands!

Reference:

Pere, B. (2010, December). The four faders of songwriting success. Indie Connect Magazine. Retrieved December 6, 2010, from http://indieconnectmagazine.com/faders-songwriting-success/

Image sources:

[songwriting]. Retrieved December 6, 2010, from http://songwriting.songstuff.com/

[Taylor Swift]. Retrieved December 6, 2010, from http://www.sugarslam.com/taylor-swift-talks-song-writing-to-glamour/