Music Castings

A look at the future of the industry

noreply@blogger.com (Project Pleasure) — Tue, 24 Jul 2012 18:03:00 +0000

With graduation upon us, we see the advancement of our president from graduate student to entrepreneur. It is with great respect, that we would like to honor this substantial achievement by saying… CONGRATULATIONS! With completion of his Masters (of Business), he adds yet another accolade to his already impressive resume. And while that in it self may represents success for many, we are equally excited to observe the affects of the process.

In this short sit down, we ask him to address two key questions. 1) What are his views on the future of the industry? 2) How does being a recent college graduate prepare you to excel in these areas?

I believe whole-heartedly, that life in general is only as hard as you make it. While there may be unforeseeable bumps and bends with your path, as long as you look at obstacles as opportunities you will fair well in the bigger picture. This is in fact the primary principal that the network was founded upon.

A few years back I had noticed the declination of the traditional models of selling and distributing music. I being an independent artist at the time, felt as though the industry that I had aspired to enter was essentially falling a part. However, other venues that employed the use musical content were still growing exponentially at a rapid pace.

After an extensive period of research, I located avenue that allowed me to still focus on music while assisting in the crossover of content. Thankfully, I had established some pretty essential bonds with media developers during my trek as a struggling musician. It was through these connections that the music casting network was able to come to fruition. Considering the nature of the business, I feel whole-heartedly that this newly formed market can and will succeed.

To ensure the company thrives I will certainly implement the lesson during my schooling. Information regarding SEO and distribution will help the company emerge as a leader in this newfound field.

Stay tuned for part 2

Alternative Financing

noreply@blogger.com (Project Pleasure) — Mon, 02 Jul 2012 21:55:00 +0000

In this segment we take a look at two alternative funding websites, in an effort to assist other entities looking for investors. Logically (due to the current condition of our economy), traditional financing outlets have been extremely harsh with their approval of business loans. This has been especially true in regards to urban, rural and native communities. Thankfully, sites such as www.opportunityfinance.net & www.microenterpriseworks.org offer entrepreneurs targeting these disenfranchised areas, financial support.

Opportunity Finance Network

www.opportunityfinance.net

“Opportunity Finance Network (OFN) is a national network of community development financial institutions (CDFIs) investing in opportunities that benefit low-income, low-wealth, and other disadvantaged communities across America” (Opportunity Finance, 2012).

The members of the company (OFN) are performance-oriented and responsible investors that aim to spark job growth in the areas that need it most. The goal of their initiative is to stimulate sound financial returns and real changes for people and communities. To date the company has provided well over $23.2 billion dollars in financing in urban, rural, and Native communities.
By providing guidance in 5 key areas (Financing, Public Policy, Knowledge Sharing, Strategic Consulting & Strategic Communications), the network plans to continuously expand. Which is best exemplified within their mission statement.
“OFN’s mission through 2025 is to lead CDFIs and their partners to ensure that low-income, low-wealth, and other disadvantaged people and communities have access to affordable, responsible financial products and services” (Opportunity Finance, 2012).
For a list of qualifications & requirements click the link below

http://www.opportunityfinance.net/uploadedfiles/financing/For_CDFIs/Application.for.Financing.pdf

Association For Enterprise Opportunity

www.microenterpriseworks.org

“AEO supports the development of strong and effective U.S. microbusiness initiatives to assist underserved entrepreneurs in starting, stabilizing, and expanding businesses” (Association For Enterprise Opportunity, 2012).

This company focuses on 4 pertinent causes including:

· Voice (promoting awareness)

· Catalyst Initiative (identifying opportunities)

· Capacity Building in the Southeast (increasing efficiency & effectiveness)

· Green Economy: (identifying new "green" opportunities with and for members)

The networks success is apparent. To date it has helped more than two million entrepreneurs create jobs. It has also secured more than $300 million federal dollars for microbusiness industry participants.

“Through AEO managed programs, member organizations have received around $20 million dollars of private funding to improve and expand vital programs and services to disadvantaged entrepreneurs and communities” (Association For Enterprise Opportunity, 2012).

For a list of qualifications & requirements click the link below

http://www.aeoworks.org/index.php/site/page/category/find/

Experts Views on the Value of Business Plans

noreply@blogger.com (Project Pleasure) — Mon, 18 Jun 2012 06:01:00 +0000

“Experts Views on the Value of Business Plans”

In this episode we revisit our last post, when we discussed “Two Business Plan Experts”. After learning about these industry leaders and their techniques for success, we wanted to find ways to implement their tools into an outline for other individuals (or small businesses) looking for similar results. Based on the information that was provided by each, we a devised the following list. Grounded in the ideology that the list was comprised on, we have also selected of few essential elements (that we feel both experts would agree on) as pertinent aspects of a great business plan.

1. Be Direct

While many individuals’ possess a wealth of great ideas, only a few actually see the fruition of these concepts. A large reason for this can be attributed to the vagueness (and or insecurity) in their approach. Those confident in their ideas tend to inspire confidence amongst observers. A prime example, take a look at the two statements listed below from both experts’ respective sites.

“No, I won’t write your business plan for you. Sorry, but I’ve done that, for years, and I don’t do it anymore” (Berry, 2012).

“Direct advice and assistance is what most people expect from a coach or a consultant. Dave dispenses it to his clients in heaping doses. Some people are initially taken aback by this straightforward approach” (Lorenzo, 2012).

2. Know your worth

“Please do not be offended when Dave does not give you free advice” (Lorenzo, 2012).

It is imperative that you place a premium on what you do. Others will only take you as serious as you take yourself. (Side Note: When preparing for this blog we came across a number of people considering themselves experts. However these were 2 of a handful that actually appeared just as professional as their claims). Take a look at how Berry asserts his worth below.

“… I charge $1,995 and up for an interactive job, working with you, to develop realistic and credible business planning projections including sales, cost of sales, expenses, profit or loss, balance sheet, and — by far the most important — cash flow projections” (Berry, 2012).

3. Be Selective

The first offer isn’t always the best. Be selective about all things pertaining to your brand. You are often judged by these associations.

“Dave is highly selective in the people and businesses he chooses as his clients…Dave will only work with people he actually believes he can help” (Lorenzo, 2012).

The Most Important Part Of A Business Plan

Based on the information provided by these guys, we feel that the most important part of a business plan is: The Company Mission Statement. Clarifying what the company and your plan to get paid are also essential elements.

Reference

Berry, T. (n.d.). Tim berry. Retrieved from http://timberry.com/

McWilson, J.(n.d.) Two business plan experts. Retrieved from http://projectpleasuremarketing.blogspot.com/2012/06/two-buisness-plan-experts.html
Lorenzo, D. (n.d.). David lorenzo. Retrieved from http://dlorenzo.com/

Two Business Plan Experts

noreply@blogger.com (Project Pleasure) — Fri, 08 Jun 2012 07:37:00 +0000

In this installment we discuss 2 recognized “experts” in the field of writing and/or reviewing business plans. With the official launch of the network right around the corner, we felt that it may be beneficial for both us as well as our clients. The first individual we discuss is (author and teacher) Tim Berry. And secondly is David V. Lorenzo the self proclaimed “Rainmaker Lawyer”.

Berry, an established public speaker and recognized entrepreneur, he has been teaching collegiately (at the University of Oregon) for well over decade. According to his self-titled website TimBradly.com, he is also noted as: “founder and chairman of Palo Alto Software and bplans.com, co-founder of Borland International, author of books and software on business planning, Stanford MBA, father of five, married 42 years” (Berry, 2012). Tim has been able gain and (steadily) maintains the title of “expert”, by consistently blogging, creating (and distributing) self-promotional material and hosting private seminars (for higher). This one is aspect that he shares with our other expert David Lorenzo.

Mr. Lorenzo (a lawyer consultant by title) is also reputable resource. While he does provide a few philanthropically recognized services (by way of a free email tutorial of his program “How Smart Lawyers Make a Great Living AND Get Home for Dinner On Time EVERY NIGHT”!). He ultimately aims to protect his greatest assets as well as yours. Prior to obtaining his assistance, he insists that all potential clients should take heed to these potential conflicts.

· Dave Lorenzo is blunt, straightforward and may NOT tell you what you want to hear.

· Dave respects your most valuable asset - your time.

· You get what you pay for - beware of free advice.

· Dave doesn’t Work with Just Anybody.

· Your competition may already be working with Dave.

David offers one last piece of information for anyone looking to speak with him one on one. “If you would like to speak with Dave and you are not a client, you will be asked to pay a $250 consultation fee by credit card before we schedule your call with him…If you do not want to pay this fee, please do not call and leave a message” (Lorenzo).

Reference:

Berry, T. (n.d.). Tim berry. Retrieved from http://timberry.com/

Berry, T. (2012, June 7). Truth and Beauty Make Better Sales Projections.

Retrieved from http://timberry.bplans.com/

Lorenzo, D. (n.d.). David Lorenzo. Retrieved from http://dlorenzo.com/

What defines playability?

noreply@blogger.com (Project Pleasure) — Sun, 03 Jun 2012 08:13:00 +0000

What defines playability?

Today while sharing an enjoying ride downtown with friends, I happen to turn a station that was foreign to my radio. An avid proponent to exploring new music, I thought it might be interesting to survey the radio-stations’ musical selections. After entering my choice for a couple minutes the other individuals in the vehicle strongly suggested changing the station or perhaps even putting on CD (which is a compact disc for those 13 and under). However, unfazed by the barrage of comments and complaints, I remained steadfast in my decision. Luckily, this decision was vindicated when a cover song by the Milow - Ayo Technology (originally done by 50 cent & Justin Timberlake) came on. It was then I baited the others with question…

“If both the content, lyrics and cadence are all transferable, then why isn’t the song”?

Unsatisfied with their answers and slightly intrigued by the altered version, I rushed to Google to get a little more information. It turns out that this simplified of version was doing just as good if not better than the 50 cent and Timberlake assisted song. According to a number sources, the Milow version charted respectively just about everywhere except the U.S. including The Netherlands, Sweden, Denmark, Switzerland, Belgium. It also peaked at number two in Germany, Spain and Austria (not to mention its top ten distinction in France, Italy and Finland).

With a bevy of accolades and a hustle that resembled that of Curtis (50 cent) Jackson’s early days (at least on paper), Milows’ long plight for recognition has finally come to fruition. However, in an effort to perhaps pacify my self I concocted the following three reasons as rationale for the stations decision to play Milow version over 50 cents.

3 Potential Answers

Image- Despite Jackson’s recent journey into mainstream America, many still associate him with the persona he carried during his street days and early on his career. As a result many still hit him with the proverbial black ball.

Comfort- at the time of Ayo’s release Justin Timberlake was still facing backlash from being associated with the nip slip orchestrated by he and Janet Jackson. While he did fair better then Janet in the situation some still chose to condemn all things Timberlake related.

Format- There is also the distinct possibility that although the lyrics remained the same, and the both cadence and content as well. Switching the artist provide just enough dissidence from the original to make it acceptable on a whole other platform.

Rapper inducted into the Bronx Walk of Fame

noreply@blogger.com (Project Pleasure) — Sun, 20 May 2012 06:13:00 +0000

In the recent years we have been privileged enough to witness a plethora of musicians climb the ranks from musical stars to cultural icons. Provided with little more than a platform and a microphone, these individuals have found a way to garner fan base like few have before them. And although their influences travel far beyond what they may have called familiar at one point, they will forever be immortalized by those that identified with them first; their home… It is within this same vein that we applaud Borough President Ruben Diaz Jr. for his motion to induct rapper Fat Joe into the Brooklyn Walk of Fame.

Joseph Antonio Cartagena (stage name Fat Joe) was born August 19, 1970. The Brooklyn native was the co-founder of two very influential hip-hop groups (Terror Squad & D.I.T.C.). Jose’s repertoire includes:

· Represent (1993)

· Jealous Ones Envy (1995)

· Don Cartagena (1998)

· Jealous Ones Still Envy (2001) inducted

· Loyalty (2002)

· All Or Noting (2005)

· Me Myself & I (2006)

· Elephant In The Room (2008)

· Jealous Ones Still Envy 2 (2009)

· The Dark Side Vol. (2010)

It is due in large part to these musical offerings that Diaz Jr. chose Joe. "He announced that this weekend, he will induct rapper Fat Joe into the Bronx Walk of Fame, for being "an outstanding citizen and a role model to countless Bronxites. He has positively represented the Bronx and throughout his music career has helped keep the Bronx on the 'musical map,' becoming one of our very own homegrown success stories (New York Daily News).

As if his musical contributions weren’t impressive enough, one may also point to his influences in another department as inspiration as well. “Rapper Fat Joe has lost over 100 pounds in the past year, scaling back from his all-time high of 460, according to a recent article in the New York Daily News. But he isn't just concerned with his own health -- he sees his extreme weight as a symptom of social problems in the community where he comes from” (www.huffingtonpost.com). In era were obesity is running ramped and fast food has become a staple; Joe jeopardized his established persona to embark upon a more health conscious lifestyle. And in the process not only transforming his image but also providing hope for others in similar situations.

While we celebrate this event, know that not everybody shares our excitement. Below is link to Daily News writer Patrice O'Shaughnessy article which questions the presidents decision…
Rapper Fat Joe Honored

Talk To You Soon

A Quick Look At Pro Tools 9 & 10

noreply@blogger.com (Project Pleasure) — Thu, 03 May 2012 07:48:00 +0000

Good afternoon friends,

This time around we here at the Music Casting Network will take a look at the latest release of AVIDS DAW, Pro Tools 10. As connoisseurs of digital recordings (and the technology that has made it possible), advancements in fields as impressive as this should never go unnoticed.

In an effort to better understand the programs meaning to the industry, indie artist and music on the digital landscape overall we examine the program against its predecessor Pro tools 9. Once hailed as the end-all for the DAW’s Pro Tools 9 had relatively short time span as the industry leader. We’ll also take a look at a couple videos that help illuminate these two vastly different programs.

Pro Tools MP 9 – The Run Down ($819.00)

http://ebookee.org/Download-Avid-Pro-Tools-9-WIN-mac-os_1413114.html

http://www.youtube.com/watch?v=ukwEyzFSQD0

This is strongly considered as an introductory version for ambitious beginners, as well as those on a budget. AVID also provides multiple ways to purchase the program including stand alone or as part of a Pro Tools MP software/hardware bundle.

Take a look at some of the programs highlights listed below…

Supported tracks
Maximum simultaneous audio tracks @ 48/96/192 kHz)	48/32/ –
Audio recording (maximum simultaneous tracks)	18
Maximum sample rate supported (hardware dependent)	24-bit, 96 kHz
Supported plug-in formats (virtual instruments, effects, and sound processors)	RTAS, Audio Suite
Beat Detective	Single track only

Pro Tools HD 10 ($999.00 – $2,499.00)

http://www.pro-tools-expert.com/

http://www.youtube.com/watch?v=CpyeCHjdxSk

With a much heftier price tag, the newest release of the program boasts a variety of upgrades (see the chart below). However, it also provides users with functions that were never possible before. Some of which include Surround Mixing, VCA Mixing as well as… “Advanced video editing (multiple video tracks, multiple video playlists, and video editing tools) (http://www.avid.com/US/products/family/pro-tools/compare)”.

Supported tracks
Maximum simultaneous audio tracks @ 48/96/192 kHz)	256/128/64
Audio recording (maximum simultaneous tracks)	256
Maximum sample rate supported (hardware dependent)	32-bit, 192 kHz
Supported plug-in formats (virtual instruments, effects, and sound processors)	AAX DSP (Pro Tools / HDX only), AAX Native, TDM (Pro Tools HD only), RTAS, Audio-Suite
Beat Detective	Multitrack

For a complete side by side comparison visit http://www.avid.com/US/products/family/pro-tools/compare

While I, like many of you will be waiting for PT 10’s price to drop a little, you can check some cool trick and techniques still available to us PT 9 users here… http://artistonly.blogspot.com/b/post-preview?token=2BCdFTcBAAA.Gva_ax0Otb4ZDs-_aN7lWw.-cVXb7EewtvPR5HL0qerFw&postId=3852012867628557141&type=POST

Talk To You Soon…

Itching To Perform?

noreply@blogger.com (Project Pleasure) — Thu, 19 Apr 2012 21:16:00 +0000

Today we are highlighting five burgeoning open Mic venues (in the greater Los Angeles area) that we feel every artist should attend. While most musicians would jump at the opportunity to skip directly to doing stadiums we’ll give you a couple leads on some more realistic locations until that time comes.

Canter's Kibbitz Room 419 N. Fairfax, Los Angeles, CA.

Located in the heart Los Angeles, Ca. Canter Kibbitz boasts an old town feel in a modern setting. The food aside the building itself serves as an obvious attraction magnet for attention (consistently bringing new clientele and potential fans).

Fais Do-Do 5257 Adams Blvd., Los Angeles, CA.

Fais Do-Do is another great venue conveniently located in city of Los Angeles. With open mic sessions held on the third Tuesday of every month, this spot provides a welcoming environment and well promoted showcase. Because the location doubles for a variety of other showcases it often brings out a diverse crowd, which is often a reflection of the performers.

The Gig (Hollywood) 7302 Melrose Avenue, Los Angeles, CA.

The Gig (West L.A) 11637 West Pico Boulevard, Los Angeles, CA.

With two easily accessible locations The Gig is one the few locales dedicated specifically to performing. While the schedule for their open mics were not listed they state that information is available upen request. To acquire more info on their shows, call (323) 936-4440 for Hollywood and (310) 444-9807 west LA.

Hard Rock Cafe (Los Angeles) 8600 Beverly Drive in the Beverly Center, Los Angeles, CA.

The Hard Rock Café, which has been a staple in southern California for years, is but another tool for the aspiring performer. Until recently I myself was unaware that individuals could actual perform at the venue. According to their site they hold a Performance night every Tuesday, with Sign-ups starting at 7:30 p.m. and Shows beginning at 8:30 p.m.

Until next time…

Distribution For The Indie Artist

noreply@blogger.com (Project Pleasure) — Thu, 19 Apr 2012 21:15:00 +0000

In this the installment we take a look at two of the most popular distribution companies available to the independent artists. With the help of these companies individuals can begin to level the field in ways few people ever imagined possible previously. Essentially, through these avenues musicians are given the opportunity to eliminate the need for traditional record labels. While these sights do little to actually promote the artist (without additional fees), they do help to minimize the fees normally associated with the process of distribution.

CD Baby (www.cdbaby.com) has solidified itself as a leader in both physical and digital distribution. The company, which was established in Portland, Oregon carries the moniker of “the biggest little record store in the world”. The company, which was established by artists for artists, was established in 1997. However, the company received a massive boost in popularity when it was acquired by Disc-Makers in 2008.

Through use of the site, users can set up an account and customize a profile. Not only does the company provide a dedicated page but it also aids the user the cumbersome process of placing it in others sites digital catalog. This includes but (is not limited to) Rhapsody, Napster and iTunes.

Another emerging force in the field is the company Reverb-Nation. With over 3 million register users, the company has become extremely popular with both males and females between the ages of 25 and 44. According to Quantcast.com (a website devoted to finding statistics of the other websites) Reverb-Nation is also highly favored amongst African Americans.

While both companies provide a similar service there are two distinct differences, their cost and interfaces. With Reverb-Nation, the company serves as its own platform (social network) and is free to sign up and begins distribution of your digital content immediately. However CD Baby allows for both digital and physical distribution with an added 35-dollar start up fee for each CD. Either way, both companies are invaluable tools in the conquest of independency for an artist.

The Importance of Copyright Protection

noreply@blogger.com (Project Pleasure) — Sat, 24 Mar 2012 06:25:00 +0000

The Importance of Copyright Protection

Good day friends,

In this installment, we take another look at the business of protection (copyright that it is). We explore the process of how to acquire it and why it is so important. To help facilitate the process we will draw upon other authorities on the topic. As well as provide you with an easy (32-step) guide to copyrighting your material (but don’t worry, its easier than it sounds). However, we will first examine a recent case involving infringement to understand the true worth of the process.

Righthaven v. Democratic Underground

In recent years (or since the emergence of Internet as we know it) blogs and broadcasting sites have been at the forefront of distributing information. Often times even besting many of the established powerhouses in the process. As is the case with any new market, new opportunity emerges for those looking to profit. Which is the issue at core of Righthaven v. Democratic Underground. Take a look at the case summary according to EFF (Electronic Frontier Foundation).

Righthaven has brought over 200 lawsuits in Nevada federal court claiming copyright infringement… they create lawsuits by scouring the Internet for content from Review-Journal stories posted on blogs and online forums, purporting to acquire the copyright to that particular story from Stephens Media LLC (the Review-Journal's publisher), and then suing the poster for infringement (Electronic Frontier Foundation).

As stated best by the people over at Entertainment law update, this process (or the people known for pursuing these cases) are often times referred to as copyright trolls. While the case was ultimately dismissed, creators of the content can protect themselves ahead of time to thwart such attacks.

Provided below is a link to a step-by-step guide on how to copyright your material. I believe this an integral part of the process for any individual looking to produce music. This is especially true in cases like Righthaven v. Democratic Underground have become the norm. http://calliopebb.wordpress.com/2011/02/06/copyright-yo-shit-the-step-by-step-guide/

As always thanks for reading…

Reference:

1. Monkey Around with Copyright Law
http://www.entertainmentlawupdate.com/page/2/

2. Mark Quial - Music Law Publishing Part 1 & 2

http://www.markquail.com/podcast/rss.xml

3. “The Pope and Little Mermaid turn it up”

http://www.entertainmentlawupdate.com/2009/08/episode-4-the-pope-little-mermaid-turn-it-up-to-11/

Three Different Legal Liabilities

noreply@blogger.com (Project Pleasure) — Fri, 02 Mar 2012 21:08:00 +0000

In this installment we will explore three fairly recent issues regarding artist (performer rights) that have arisen within the hip hop community. Many of which could have been avoided if the proper steps were taken a head of time.

Recently producer extraordinaire “Bangladesh” and record label Cash Money came to amicable terms. The parties had been on the outs for the past 3 yours due to accusations of fraud and lack of royalty payments. In their dispute the producer claims that he was not properly paid for his services, and was looking to recoup nearly five hundred thousand dollars for his part in the multi platinum album “The Carter II”. However, cooler heads were able to prevail just in time for Lil Wayne to release his 2011 follow up album “The Carter III”. For more on this topic refer too…

The Conflict “… Cash Money Don’t Pay Royalties”

http://gossiponthis.com/2010/05/06/bangladesh-wayne-cash-money-royalties/

The Resolve “Bangladesh On Resolving Issues With Lil Wayne & Cash Money”

http://slumz.boxden.com/f87/bangladesh-resolving-issues-lil-wayne-cash-money-1666941/

In similar but a very different situation all together, new-comer Mac Miller was confronted over production credits at one of his recent shows. The young emcee and his entourage were addressed by a collective group known as “Up North Productions” over something as simple as providing credits on a www.youtube.com video. While both sides claimed that they were in the right, only one provided evidence. For more on this incident refer too...

The Conflict & The Resolve “Mac Miller Gets Confronted By Disgruntled Producers”

http://www.ihiphop.com/?p=67316

Speaking with video personality Jack Thriller, up-and-coming rapper Riz recently expressed his feelings on being stolen from. “Protect your ideas and keep your thoughts to yourself as much as possible cause people will steal your creativity and your thoughts are priceless” (Riz 2012). Review the full allegations at the link below…

The Conflict “Riz Claims Rick Ross Stole "Self Made" …”

http://www.youtube.com/watch?v=3zNdKk__43Y&feature=channel_video_title

The Resolve …Unresolved

Until Next Time…

Is Hip-Hop Growing Up?

noreply@blogger.com (Project Pleasure) — Sat, 18 Feb 2012 22:01:00 +0000

Is Hip-Hop Growing Up?

Justin McWilson

Feb. 18, 2012

Recently we as fans of this ever-evolving culture were exposed to yet another beef. This time from seasoned Hip Hop veteran Common and pop sensation Drake. While conflicts over vernacular and verbal dexterity are nothing new, method by which these disputes are being handle has begun to grow in maturity with each new case. Naturally in any male driven field testosterone is bound to run ramped. However, we have finally taken a page from the high power boardroom executives and found more civilized ways to handle our complications.

While the turmoil between Tupac and Biggie Smalls (along with their perspective crews) may have been an extreme case, the sentiments from that situation remained consistent throughout the years “when at war nothing is off limits”. This was never more evident, than in the case of “Gucci Mane vs. Young Jeezy”. Both emerging talents at time (2005) allowed something as petty as royalties and song credits divert their focus from the “Industry” to handling their conflict “In-The-Street”.

While serving a six-month jail term for assault in late 2005, Davis (Gucci Mane) was charged with murder, though the charges were later dropped due to a lack of evidence. In 2009, he served a year-long county jail sentence for violating probation for his 2005 aggravated assault conviction (http://en.wikipedia.org/wiki/Gucci_Mane).

Referring back to the case of Common vs. Drake, to serve as an example as to how much the philosophy has changed in just a short period time. In late January 2012 after nearly two months of speculation Aubrey Graham (Drake) finally responded to a dis record aimed at him by Hip-Hopper Lonnie “Common Sense” Rashid. However, rather than taking the skirmish to an unnecessary level involving violence, both emcees elected to keep it on wax. None-the-less emotions took center stage as the two finally came face to face (at the Grammy Awards) for the first time since their quarrel had begun. Read more about the incident here… http://www.sohh.com/2012/02/drake_common_squashed_beef_not_each_othe.html.

While this situation does nothing to stimulate the economy, mend gender relations or create world peace. It does represent a more neutral zone for looking to invest in the culture. As well as those that make a living within it…

Unifying The Unions

noreply@blogger.com (Project Pleasure) — Thu, 02 Feb 2012 03:04:00 +0000

Recently, we received an email from AFTRA National President Roberta Reardon and SAG National President Ken Howard. Detailed within the message, was information regarding a possible merger. However, members where told to visit each entities website to get truly informed; as the final vote lies in the hands of the members.

In acknowledgement of this momentous event we here at Music Castings sat down with a number of individuals to get their perspective on the potential merger. While the response was clearly mixed there were three areas that were consistently addressed. Below we have highlighted two of the most talked about sections within the Merger Agreement.

XI. Membership

A. Status and Conversion of Existing Members

1. On the Effective Date, by virtue of this Agreement and without further payment or action, all AFTRA and SAG members not under expulsion or suspension by either SAG or AFTRA shall become members of SAG-AFTRA in their appropriate membership classification (e.g. active, inactive, etc.) provided, however, that any person may elect to become a non-member by written notice to SAG-AFTRA (Merger Agreement).

Many of the current SAG members expressed a great deal of angst regarding this specific area. For years individuals have had to meet rigorous requirements before being given the opportunity to join this union. Members of SAG have also had to pay nearly double the initial fee of those that joined AFTRA. However, AFTRA on the other hand has for years been the alternative to waiting out the initiation process of SAG. Its requirements to join up, until recently have only been financially based. In light of these differences many SAG members are hesitant.

XIV. Collective Bargaining Agreements

C. Contributions to Benefit Funds

During the period after the Effective Date but before any merger or other combination of the Unions’ Taft Hartley benefit plans or cooperative funds, SAG-AFTRA shall use its best efforts to ensure that (1) the members of SAG- AFTRA enjoy the best available terms and conditions for their work; and (2) the amount of contributions to each of the union’s Taft Hartley benefit plans and cooperative funds remains as close as possible to the levels received during the 12-month period prior to the Effective Date (Merger Agreement).

Amongst many of the well-seasoned SAG members this was another hot button issue. However there were a number of positive points as well. To review the document in its entirety refer to

http://aftra.org/documents/Merger_Agreement_Final_Approved_120131a.pdf

A one on one with a Realtor

noreply@blogger.com (Project Pleasure) — Mon, 23 Jan 2012 00:28:00 +0000

A One On One With A Realtor

Interviewee: Lisa Scoggins

Interviewer: Justin McWilson

This week we here at The Music Casting Network decided to sit down and discuss the topic of negotiating and closing deals. We were luckily enough to find an individual that works in the field of real estate. As part of the interview we wanted to see how she would respond to some question that we ourselves being asked... (Lisa Scoggins is a realtor based out of Nothern California, she is currently studying at the North-Central University and preparing for the broker exam).

What are some of your strengths and weaknesses?

Strengths: Working in the field of real estate has been a success for me professionally. Some of my strengths are my education background in psychology. Having this training has proven to be very helpful in working with my clients, and the community. It is important in this field to be able to understand and analyze people to the extent of being able to meet your clients needs when it comes to buying or selling a home. Another strength is the eye for details. When it comes to contracts and negotiations, it is very important to be meticulous and on your toes regarding details of a contract. Making the mistake on a contract or negotiation can break a deal. This can be very bad for the client.

Weaknesses: One thing that stands out is that organization is something I have to constantly work on. I have to go to great extents to make sure I have things organized. It does not come naturally for me. I have taken steps to remedy this problem, such as taking extra time in preparing, and have hired on an assistant to help with each step of the way.

How do you think others see you?

I do believe that others see me as a professional, who takes her career serious. Also, I am a helpful person, which is probably the reason I have chosen this career path and my education in psychology. I do enjoy helping people. There is a gratification in seeing the joy in people when I help them with their dream homes. Therefore, I would say that people see me as a helpful, considerate, and caring person.

How do you think self-confidence plays a role in effective negotiation?

I think that self confidence is important in negotiation. It is hard to take someone serious, if they seem unsure, or stumble on their words. A confident person portrays someone who has a plan, is well organized, and can lead. It would be more difficult to be persuaded by someone who is themselves unsure. If you cant be sure of yourself, how can you expect others to be sure of you.

Do you think that any of your fears keep you from being an effective negotiator? If so, how might you overcome this?

Yes, there are times when I do have doubts. This does not happen very often, but when it does I do need to reevaluate my options, and really consider that the best choice is being made. One way that I would be able to overcome this, is to do my research, be well prepared before the negotiation, and to rely on my assistant when needed.

How do you think knowing yourself will help you in your career?

Knowing myself is very important in this career. A person that is confident is a person that is secure, and has learned about themself. To know your strengths and weaknesses allows for perfecting skills such as communication, organization and negotiation. Also, knowing my weaknesses will allow me to be able to hire on assistant in the weak areas, to better meet my clients needs.

How do you think the following terms relate to you and your business...

Affiliation: An example of how affiliation has impacted me in my career, is a client who at the time, I was fully representing. I did my best to have my clients best interest in mind. However the client had been fed misleading information about realtors, and generalized these views upon me. There was no convincing the client that I was on her side and working for her, not against her. It made it difficult in making the deal go through in a timely manner, and the process got dragged out. In the end negotiations were weak, because of the continuous opposition of my client.

Autonomy: A time when my autonomy was challenged, was a friend who became a client. She came to me to assist her in the sale of her home. This was at a time when the market was declining. After going over the comps with her to set a price to sell her house, she was very dissatisfied, because in her mind, she thought her house could sell for more, based on sells in the past 6 months. However in explaining to my client that prices were declining, and her not agreeing, this caused a situation in which I was limited on my ability to do my job. It now became the decision of my client regarding the details of the sale of the home. This ended up causing a dissolution of the friendship, and it was an unfortunate outcome.

Status: Another situation in working for a friend on the sale of her home, turned out to be quite the opposite of the previous example. An old friend had information that I was working as a realtor, and contacted me to help sell her home. It was very refreshing that in this instance the outcome was quite the opposite, I was praised and there was gratitude in the information given to my client. The homes were selling for 3 times the amount she purchased her home for, just 4 years prior. This became a situation in which my clients were very pleased, and there was positive recognition on my job well done.

Role: A situation that was fulfilling in my role as a realtor, was in the helping of a widow, who had previously had lost everything due to finances, and the death of her husband. This woman had suffered years of struggle, and suffering. Due to the unfortunate accident of her husband, and the settlement she accrued, her situation took a turn. Being able to provide the service to her in helping her find security in the purchase of a home, for her and her child was rewarding that I was able to help this women in the process of easing a burden of finances at a time when she needed security the most. There was no way that I could do anything to ease the pain of her losing her husband. I was able to however assist in helping this women ease the new burden of providing for her son.

Please Listen To My Demo

noreply@blogger.com (Project Pleasure) — Sun, 04 Dec 2011 03:09:00 +0000

www.PleaseListenToMyDemo.com

Recently I was browsing the Internet, in an attempt to discover what type of tools there were out there for artists looking to get their music heard. Then on a fluke I came across the web site www.PleaseListenToMyDemo.com. Here on the site they promise individuals that they will rate songs and give feedback from industry insiders. This was extremely similar to promises offered by the Akon endorsed Digital Hit System or DHS. Considering the fact that we here at the Music Casting Network are aiming to also fulfill a similar void in the market. We felt that it was only right to fairly assess other tools of the same nature.

After taking the bait I reviewed the information on the sites ‘about’ section. It turns out this company also took the route of acquiring a marquee name to help solidify their movement. However, rather than using an artist (which may have resulted in mixed reviews) they chose one of the most notorious urban music executives, Chris Lighty. According to the site Lighty has been an instrumental factor in the careers of many of hip hops elite.

“In an era when label CEO's drop albums, romance pop-stars and parlay their mogul-dom into multiple endorsement deals, Chris Lighty, CEO of Violator Management, is a bit of an anomaly. Since 1989, his company has been stealthily creating strategic multi-million dollar opportunities for its artists' – among them 50 Cent, Mariah Carey, LL Cool J, Diddy, and Soulja Boy – in the areas of film, television, advertising, sports and finance” (www.pleaselistentomydemo.com).

You can read more about Lighty at http://www.pleaselistentomydemo.com/about/

While the site offered a very influential name drop with Chris Lighty, the set backs were evident as well. They were not able to point out any known success stories attributed to the network. Aside from, that the $10 per song submission fee served as the sites own deterrent.

Hit Lab Competition

noreply@blogger.com (Project Pleasure) — Sat, 26 Nov 2011 07:55:00 +0000

Recently world-renowned recording artist Akon took part in administering a competition. With the use of various social media networks, he was able to spread the word of this event extremely fast. His promo for this activity began with a simple video uploaded to the popular media based site YouTube. Then linked was linked to his various other social pages to create a platform.

Watch the video here:

In his video he briefly explains the motivation behind the competition. However what isn’t highlighted on the surface is the utter amount of self-interest being also at play. By masquerading his motivation as an “opportunity for emerging talent” he also finds an added outlet to continue his brand.

The contest allows artist of all genres to submit songs into a database coined as the DHS (Digital Hit System). Then, the machine (which is said to be incredibly accurate) calculates the hit potential of the entree. Ultimately, the winners of the competition are flown out to the Grammy’s to walk the red carpet and perform their music on national television.

For complete rules: http://www.facebook.com/hitlab?sk=app_271786972853587

While reading the guidelines and (possible) rewards even the most skeptical of individuals would be enticed. How ever from a marketing perspective one must display complete amazement. In one deadly swoop this company has established a market, locate a fan base and ultimately secured a brand.

An avid reader of “The 48 Laws Of Power” by Robert Greene, I feel these guys have (and continue to) exemplify a number of crucial laws in their attempt to solidify themselves as a reputable company. The fact that they were able to down play the notion of brand promotion (of DHS) and focus on the opportunity being was pure genius.

Law 3

~Conceal Your Intentions~

Keep people off-balance and in the dark by never revealing the purpose behind you actions (Green 2000).

Reference:

Greene, O., & Elffers, J. (2000). The 48 laws of power. Penguin Putnam.Retrieved from http://books.google.com/books/feeds/volumes?q=0-14-028019-7

Why to Believe In Others

noreply@blogger.com (Project Pleasure) — Wed, 09 Nov 2011 07:30:00 +0000

My Experience @

www.TED.com

Site Overview

Today I was rather inspired by a new site I had the pleasure of experiencing for the first time. Upon my initial visit this page struck as just another video sharing site extremely similar to the other dozen or so popularized video sharing sites (and or dot com’s). However, after further review this would not at all be the case. It turns out the sites administrators examined the advice given by the Ries’ in their book The 22 Immutable Laws Branding. “…when you narrow the focus to such a degree that there is no longer any market for the brand? …This is potentially the best situation of all. What you have created is the opportunity to introduce a brand-new category” (Ries & Ries, 2002). As a result, of narrowing their database to solely motivational material (or in other words Ideas Worth Spreading), they were able to help themselves create brand distinction.

Best of The Web

One of the more unique features of the site is the organization of themes. Within these subsections they provide a category entitled “Best of The Web”. From lectures at little-known forums to famous speeches that made history, our "Best of the Web" collection features talks that come from all over the Web -- not just TED or TED's partner conferences -- so long as the video is available for free, and so long as the talk meets our most important benchmark: that it's an Idea Worth Spreading ("Best of the," 2011). It was here that I found a number of the sites most moving inspirational speeches. Including one from Holocaust-survivor Viktor E Frankl.

Why to Believe In Others

In this excerpt from a lecture in 1972, Viktor E Frankl (Neurologist and psychiatrist) illuminates the importance of investing in people. With the use of well-timed humor and minimalistic visual aids he displayed an array of information. Frankls’ approach to the speech was simply ingenious. Although he clearly knew information well, he allowed the audience to assist at points (clearly a technique heavily employed by instructors). I have personally have always agreed with notion of over expectation for myself, however I now see the benefit in doing the same for others as well.

Reference:

Best of the web. (2011, November 08). Retrieved from http://www.ted.com/themes/best_of_the_web.html

Ries, A., & Ries, L. (2002). The 22 immutable laws of branding. New York, NY: HarperCollinsPublishers.

Frankl, V. (Performer). (1972). Viktor frankl: Why to believe in others. [Web Video]. Retrieved from http://www.ted.com/talks/viktor_frankl_youth_in_search_of_meaning.html

Industry Association

noreply@blogger.com (Project Pleasure) — Mon, 07 Nov 2011 18:51:00 +0000

Welcome back,

In this segment we will briefly discuss a variety of a Industry associations. Highlighting their purpose and motivation as it pertains to elements of the music business. However, one should keep in mind "...there are over 86,000 registered trade and professional associations whose primary purpose is to work together on a common interest" (DeGilio, 2011). So it highly unlikely that we can cover each and every pertinent one. Non-the-less, we have listed (and outlined) four key organizations imperative to those looking to succeed in this field.

Recording Industry Association of America: http://www.riaa.com/

Is a trade organization that promotes the creative and financial livelihood of the major music companies. "RIAA® members create, manufacture and/or distribute approximately 85% of all legitimate recorded music produced and sold in the United States" (www.RIAA.com).

American Advertising Federation: http://www.aaf.org/

This federation ulitmately protects and promotes the well-being of advertising. Some of their key attributes (as detailed on their website) include...

* Bringing members together to yield creative business solutions.
* Educating members on the latest trends in technology, creativity and marketing.
* Promotes diversity in advertising by encouraging the recruitment of people of
diverse cultures.

For further insight into the companies benifits refer to their web page. (www.aaf.org)

Motion Picture of Association of America: http://www.mpaa.org/

According to its website it is at the forefront of assisting the film industry through one of its most
turbulant periods to date. "While the advent of the digital era created extraordinary new opportunities for delivering movies to consumers, it also give rise to the most serious threat to the industry's continued health - online copyright theft"(www.mpaa.org).

Public Relations Society of America: http://www.prsa.org/

"...is a community of more than 21,000 public relations and communications professionals across the United States, from recent college graduates to the leaders of the world’s largest multinational firms. Our members represent nearly every practice area and professional and academic setting within the public relations field" (www.prsa.org).

Inevitably each of these organizations will have an affect on the way www.MusicCasting.com operates, from handling promotions to aiding talent. The association that may be dealt with the most is the RIAA. With the core focus of the company being ~music~ it will be imparative that the site work closely with the RIAA for the benefit of those employing the service.

Unfortunately, membership is only "open to legitimate record companies with main offices in the United States that are engaged in the production and sale, under their own brand label, of recordings of performances for home use" (www.riaa.com). However, many of our promotions are geared toward music and the distribution of it.

Many of the initiatives the company champions also align with the ideology of www.MusicCasting.com. Their attempts to combat piracy continue to allow legal online services to profit. They are also huge advocates of taking legal action against rogue companies. A more recent tool employed the company with the use of the FBI seal... This was intially brought to our attention via the "JMiller Entertainment Blog" (available here...http://jasminedmiller.blogspot.com/2011/11/recording-industry-association-of.html) However, for more information on this and other music related legal issues visit (www.riaa.com)

Distributing Music Online

noreply@blogger.com (Project Pleasure) — Thu, 13 Oct 2011 23:22:00 +0000

Distributing Music Online

Justin McWilson

10-13-09

With the variety of advancements in technology it has never been easier to get ones music out. In the old days the technology it took to record, cut and distribute an album (EP, single etc.) was far too expensive for the average individual to delve into. However, that is no longer the case…

In our two previous discussions we covered the initial steps to getting ones music to the market place. With our initial blog, Securing Ones Publishing we talked about the purpose of publishing companies, how to choose one and where to find them. Then in the following post, What is Copyrightable & How Do I Do It the tedious but very necessary process of copywriting music (& or lyrics) was highlighted in a step-by-step process.

Now that you have copyrighted your material and own your publishing rights, you are officially ready to get paid for your music. Luckily many companies have already done much footwork for you, releasing you of the burden. Understandably, there is a multitude of ways out there for one to get paid off the sales of his material. Here we will cover some of the most popular machines currently out there.

Note: According to http://www.garagespin.com it is highly recommended that you do the following first for best results:

· Have your Music Mastered.

· Obtain a UPC Code.

· Choose a pricing model.

· Choose a service that meets your needs.

One of the most popular engines now available on the Internet is CD Baby. Through the use of this site an artist may upload a body of work, to be sold as individual pieces or an entire entity. The start up fee for the service is $35 and 9% of your royalties. While the start up fee and loss of wages do to royalty docks may serve as a deterrent the benefits include digital distribution to a wealth of sites such as iTunes, Rhapsody, eMusic, Amazon MP3, Napster, Verizon V-Cast, Liquid Digital Media, PayPlay, AudioLunchbox, GroupieTunes, Ruckus. For more information on CD Baby, click here.

Reverb nation is a similar online service that provides an artist with the necessary tools to profit. While the start up fee is $34.99, which is very close to the price of the CD Baby service, this company does not take any percentage or royalties. They also are much smaller in their digital distribution development, with only five companies they currently distribute through: iTunes, Amazon, eMusic, Napster, Rhapsody. For more information on Reverb Nation, click here.

Reference:

7-ways-sell-your-music-on-itunes. (2009, March 09). Retrieved from http://www.garagespin.com/2009/03/09/7-ways-sell-your-music-on-itunes/

What is Copyrightable & How Do I Do It

noreply@blogger.com (Project Pleasure) — Fri, 30 Sep 2011 00:05:00 +0000

What is Copyrightable
& How Do I Do It

09-29-11

Back Story:

After years of producing music locally Project Pleasure Productions has ventured out, to turn concepts into to cash. In our opening series of blogs we have dedicated ourselves to detailing the process of getting ones music out.

In our last post "Securing Ones publishing" (located here) we discussed the process of choosing a publishing company. This time around we will explore the topic of “Copyrights”.

When discussing issues regarding business, often times those that have never personally researched the topic are the first to offer up advice. However, like most other things in life you would prefer to get guidance from a professional. (One that has slightly more experience on the topic than you). Here we will discuss a couple commonly discussed methods of copyrighting.

Prior to seeking copyright protection one should realize what exactly is covered. According to www.copyright.gov and “Copyright Basics”, copyrights are meant to protect:

… a form of intellectual property law, protects original works of authorship including literary, dramatic, musical, and artistic works, such as poetry, novels, movies, songs, computer software, and architecture. See Circular 1, Copyright Basics, section "What Works Are Protected."

This in no way covers websites, domains, band names or ideas (unless written). However, in some cases it may cover the way in which an idea is expressed.

Once you have established that first, you have something and it is eligible for copyrighting, you must secondly determine what route you would like to go about. In theory, there are many ways to do this however here we will highlight two commonly discussed Poor mans copyright and Government copyright.

The poor mans copyright, often talked about as an alternative to the official copyright has been a method used by many for years. However after exploring the www.copyright.gov site one realizes this is far from a suitable alternative.

The practice of sending a copy of your own work to yourself is sometimes called a “poor man’s copyright.” There is no provision in the copyright law regarding any such type of protection, and it is not a substitute for registration (Copyright in general, 2010).

How to obtain an official copyright for your music, refer to this site: http://www.calliopebb.wordpress.com/2011/02/06/copyright-yo-shit-the-step-by-step-guide/. This is perhaps one of the only methods honored by the US justice system. Non the less it is a time intensive process, well worth the investment.

Stay tuned for next time when we discuss how to distribute music!

Reference:

What does copyright protect . (2010, september 13). Retrieved from http://www.copyright.gov/help/faq/faq-protect.html

Copyright in general. (2006, July 12). Retrieved from http://www.copyright.gov/help/faq/faq-general.html

Securing Ones Publishing

noreply@blogger.com (Project Pleasure) — Thu, 08 Sep 2011 22:23:00 +0000

Securing Ones Publishing

Justin McWilson

Sept. 8, 2011

This week in The Underground Report: We begin the three-step process to getting ones music out in the market place (digitally). This includes obtaining publishing, acquiring copyrights and distributing content.

The process of choosing a publishing rights organization is very similar to buying a home or securing a car loan. While it isn’t the most complicated process in world, those that don’t do the proper research often regret the outcome. With only three major performance rights organizations out there (ASCAP, BMI and SESAC), the delicate procedure of choosing one can become truly cumbersome. Each provides similar services however, a separate list of added incentives.

ASCAP (American Society of Composers, Authors and Publishers) has been and continues to remain the home for many of America’s most successful artist. This list includes such greats as Duke Ellington and Stevie Wonder to Leonard Bernstein and Beyoncé. According to the companies website they state that their sole aim is to

…Protect the rights of its members by licensing and distributing royalties for the non-dramatic public performances of their copyrighted works. ASCAP’s licensees encompass all who want to perform copyrighted music publicly. ASCAP makes giving and obtaining permission to perform music simple for both creators and users of music (http://www.ascap.com/about/ )

As an added incentive, those that choose to join the org. receive a variety incentives including:

…workshops, showcases, our website and publications, and an exclusive, tailor-made benefits package that includes health and instrument insurance, a credit union, discounts on musical accessories, travel and much more. ASCAP is committed to nurturing music makers throughout their careers (http://www.ascap.com/about/ ).

BMI (Broadcast Music Inc.) working in similar fashion states their mission as follows:

…collects license fees on behalf of songwriters, composers and music publishers and distributes them as royalties to those members whose works have been performed (http://www.bmi.com/about/ ).

The company that was established in 1939, as an alternative PRO (performing right organization) also boasts star-studded line up of musicians it represents. Including Kanye West, Michael Jackson, Elton John and an array of there’s. Aside from an impressive roster the company also provides users with a variety of vital tools.

This means instantaneous information on catalog, royalties and contract status. Computerization has facilitated the collection of performance data, distribution of royalty payments, management of licensing fees and automation of accounting functions. No other licensing organization can boast of such an extensive and accessible body of information (http://www.bmi.com/about/entry/533108).

SESAC (Society of European Stage Authors & Composers) originally founded in 1930 (New York) by German immigrant Paul Heinecke. The goal, of the company at that time was to help European publishers with their American performance royalties.

With an established cornerstone repertory of the finest European Classical Music, SESAC began to turn its attention to American music in the 1930s (http://www.sesac.com/About/History.aspx).

A few of the writers connected to the label include Aesop, Rock Adonis and Brian Cox. Artists aside the company also provides:

…a highly independent, innovative, profitable and market-driven performing rights organization, sensitive to the concerns and interests of its affiliates, users, employees and shareholders (http://www.sesac.com/About/Careers.aspx).

Once one has chosen the company they would like to represent them, the next is simply filling out an application fee and providing evidence of their creations.

Next topic: Acquiring copyrights.

About Me

noreply@blogger.com (Project Pleasure) — Sat, 03 Sep 2011 15:47:00 +0000

I am currently a graduate student attending Full Sail University, pursuing a Masters degree in Business. Prior to this pursuit, I obtained my B.S. at CSU Monterey Bay. For the past 10 years I have been running the independent record label Project Pleasure Productions. Recently I have relocated the company to the greater Los Angeles area with the goal of expanding the brand. I look forward to the challenges and rewards that this new endeavor has to offer.

Welcome To Project Pleasure Marketing

noreply@blogger.com (Project Pleasure) — Sat, 03 Sep 2011 15:17:00 +0000

Good afternoon friends and associates,

This is the home of Project Pleasure Marketing. Through this site we will discuss the various aspects of music marketing (specializing in hip hop). We will also discuss other information pertinent to the process of branding. The ultimate goal of this process to promote our established artist and construct a lane for new musicians.