Lets Talk Music!

You Need Connections in the Music Industry

noreply@blogger.com (Unknown) — Mon, 01 Apr 2013 00:57:00 +0000

We have all heard the statement, which says, “ It’s not what you know, but it’s who you know.” One might add that, “Its not just who you know but its who you know that likes you for one reason or another.” It’s not just about being known but it’s about being picked.

This reigns true in the music industry as well. In the article Music is Politics, the writer suggests today the music is less about the talent and ability as a musician or singer, but rather that today’s music industry is heavily influenced by image. Although image is a factor, its only one dimension of the popularity contests in music.

Another might be the reason that so many talented songwriters and artist get pushed back because someone has a personal connection with a person in charge. The fact is that no matter what you do in life it always pays to have an appeal to the employer beyond your talent and skills. It’s the same for the music industry.

As artists we have a tendency to want to focus on our music. Creating and performing tend to be what we treat as the most important. However, your connections may be the most critical aspect of your career. Its simply not enough to be talented, you have to be talented and liked by the right people.

I talked to a promoter/manager in December of 2012, and he gave me a few tips for those who need connections in the industry, which are pretty self-explanatory.

1. Connect with other people to venture with. You cant do it all by yourself.
2. Pay attention to the credits on movies and on CD album covers. Look those people up and contact them. Some of them are looking for you and will respond.
3. Be creative and network at the same time.

Article: Music is Politics

Getting The Funding for your Business

noreply@blogger.com (Unknown) — Mon, 18 Mar 2013 03:14:00 +0000

In light of difficulty for businesses today to find financing for their ventures it’s important to know and discover other options to get your business financed. The truth is that there is still financing available for your venture. Imagine getting money to launch your music business venture. The following are lists of some sites you can review that can help you finance your business ideas, whatever it may be.

The financing opportunities are not the traditional options that most people think of when they attempt to get a loan to fund their business. In fact most start up business will not qualify for traditional bank funding anyway without a proven track record of success. However an investor from one of the listed sites may be a good choice for your start up.

The opportunities include criteria for business ideas and focuses for particular interests that correspond with the groups. Some may even be grant opportunities that business does not have to pay back.

For example, Opportunity Finance Network has financial opportunities that provide loans to businesses that support energy efficiency or participates in distribution of healthy foods. To be eligible you have to be a member. Other investor secured and unsecured loans are available to its members as well.

These sites are not only great for seeking financing but they also offer statistical data and mentoring programs for entrepreneurs. Federation included training and education programs for entrepreneurs as well.

Check out this list for details.

http://http://www.opportunityfinance.net/

http://www.microenterpriseworks.org/

http://http://www.cdfi.org/

http://cfed.org/

http://http://www.cdvca.org/

http:// http://www.ncif.org/

http://www.natfed.org/i4a/pages/index.cfm?pageid=1

http://http://www.eda.gov/

http://http://www.firstnations.org/default2.asp?id=69

http://http://www.oweesta.org/

Music “Push” Marketing Strategies and Concepts

noreply@blogger.com (Unknown) — Sun, 27 Jan 2013 15:54:00 +0000

The advance of Internet use has drastically changed the economics of the music industry over the last decade. Over the last ten years music sales have dropped. Musicians and artists have had to adapt the changes to be successful. Those changes include how they market, whom they market to and what they market for.

Julien Mitelberg wrote and article for the Huffington Post called “Push, Don’t Shove – Music Marketing That Actually Works.” In the article Mitelberg discusses the concepts of “push” and “pull” marketing online. To paraphrase Mitelberg’s definition of the two concepts:

1. Push marketing is a straightforward approach that forces the information about your music or tour date on the prospective customer through the distribution of advertisement.

2. Pull marketing is more of a backdoor approach that helps the prospective customer find you on the Internet.

Although many of us are more inclined to be less pushy and want the fans to find us, the more affective way to sell the product or service in music seems to be the push strategy. Mitelberg includes a study by Bandsintown, which can help us to better understand what brings concert attendees to the show. The study showed that prospects are most likely to respond to “push’ marketing strategies.

Mitelberg made the following statement, which reflects his analysis of the Bandsintown study:

“More than 80 percent of music fans surveyed said that Facebook posts and email blasts inspire them to purchase concert tickets, compared to more traditional outlets like magazines, newspapers, or even blogs.”

Push marketing reminds me of an age old sales and marketing concept called “direct” marketing. Direct marketing is simply the concept of taking your product or service directly to the presence of the prospect in hopes of selling and or raising awareness of your offering. Direct marketing is still and effective tool used today by many reputable companies. Some of today's new push marketing strategies could be considered direct marketing on the Internet.

The Power of Music: 12.12.12 Hurricane Sandy Relief Concert shows US Congress how to care about what’s really important

noreply@blogger.com (Unknown) — Sun, 13 Jan 2013 18:22:00 +0000

On October 28, 2012 Hurricane Sandy hit the US northeast causing billions of dollars in damage and altering the lives of millions of people. About a month and a half later on December 12, 2012 The Robin Hood Foundation had a relief concert for Hurricane Sandy victims that raised $50 million towards the relief effort. Congress can learn a little bit from the 19 million Americans who watched the concert, those of them who donated money and the artists who participated which revealed what it takes to get things done and act fast to help people in need.

"Not one single penny will be diverted to anything other than helping people who were hurt by this storm,"

David Saltzman- The Robin Hood Foundation Executive Director

Over the past months we have talked about aspects of how to make and market music, artists and songwriters but we never talked about the power of music and how it can bring people together from all walks of life to help people around the world. The 12.12.12 Concert is an example of that power.

The concert was star studded with performances from Bruce Springsteen, Kanye West, Alicia Keys, Paul McCartney, Bon Jovi, The Rolling Stones and others. These artists came together from different walks of life and musical genres to draw the attention of millions to do something good for people in need. This is the positive side of the power of music, songwriters and artists.

What we do as musicians has power to influence. The reason the concert can draw so many is because they are connected to the artist that influences them. The artist influences through the songs they write and/or perform. In an article from io9.com called “What happens to your brain under the influence of music” the author Alasdair Wilkins says that, “A good song can trigger a cascade of secondary responses, often involuntarily.” There is a neuroscience perspective to music.

Our work is important too. A good song, a good musician, a good vocalist, a good manager and a good producer can give music the power to influence millions and create the impact shown in The Concert for Sandy. This may be a little far fetched but next time we want congress to act fast for people in need maybe they should attend a concert.

Resources:

Pop Blend: 12-12-12: The Concert For Sandy Donations Go To Charities

Live Science: Superstorm Sandy: Facts About the Frankenstorm

US News: Did Congress Mishandle the Hurricane Sandy Relief Bill?

Huff Post: Sandy Relief Concert Donations Doled Out To Over 160 Organizations

Independent Artist Distribution and Marketing

noreply@blogger.com (Unknown) — Mon, 12 Nov 2012 04:04:00 +0000

There was a time when people only believed they had a chance in the music industry if they were able to get signed to a label. An independent artist did not have much of a chance. Today that’s not necessarily true due to the advancement of the Internet. Recently I viewed a video from one of the most informative websites for musicians active and aspiring to the music industry called Artist House Music. Jon Vanhala, SVP Digital & Business Development Island Def Jam Music Group, in and interview goes over some strategies for promoting you career as an independent artist.

We all know that the Internet has totally changed the scope of the music industry in several ways, many of them negative. However for independent artists the Internet has given them an opportunity to level the playing field. Today we have the ability to effectively create; self publish, market and distribute music from home. Vanhala mentions some really great ideas and shares wisdom for the independent artist to utilize to increase their online and offline presence and credibility as an artist.

In the clip “How to Promote our Career as an Independent Artist,” Vanhala mentions a few websites that would be really good for the independent artist to distribute and/or market their music.

1. The Orchard

2. AWAL

3. CD Baby

4. MySpace

Vanhala speaks of first three mentioned sites as really good sites to set up distribution, publishing, and in some cases a marketing package to help you get the word out about your music for sale. He also gives a special mention to MySpace as one that is “really important.” In spite of the surge from Facebook to take over as the most popular social media medium, MySpace still has strong components for marketing independent artists or artists in general. Recently MySpace has been advertising a new design and strategy that will be a great tool for artists to interact with their fans and easily advertise through music and video.

Vanhala urges the use of technology to advertise yourself as an independent artist. You have to become a marketer until you can afford to have someone do it for you. You need to have a website and send your fans there. Capture their emails and send them the information they want to know about. Phone numbers can come in handy as well especially in todays smart phone era.

Marketing a Music Website

noreply@blogger.com (Unknown) — Mon, 29 Oct 2012 02:39:00 +0000

The music industry has many components that need to be completed if you want to be placed in the best position for success. You have hire the right publisher, agent, manager, and booking agent. You have to get the right studio people involved for the recording and of course you have to have good music. You got to posses an ability to write, play, sing or all of the above.

One of the most important aspects of any business is marketing. Without marketing, that good work is wasted. Sure, some of the above businesses or team members will help you do that, but what are you doing specifically and individually to make sure you increase your presence in the music industry? Today the way to do that best is a professional Internet presence.

It’s no secret that if you want to compete in today’s world you must be accessible via the Internet. The question is “How can I be most successful?” There is a lot of competition out there. You have to do more than create a website. You have to draw people to it. If you can afford or practice some of the following items you may be able to get some traction started.

Number one there is always the option paying a company or individual to take care of this matter for you. However, hiring an SEO (Search Engine Optimization) service can be rather expensive. According to an article I read by Jenny Halasz, hiring an agency could cost $2500 to $5000 monthly. A consultant could charge you $100 to $150 hourly.

On a positive note hiring a company to do this work for you is a relief if you have the cash. You don’t have to learn anything yourself and you should have people who specialize in helping businesses get their websites ranked on search engines working for you. Choosing a company or a consultant can be tricky though. You want to make sure your getting people that really know what they are doing.

Number two you can learn a few techniques and do it your self. Music industry professional Bruce Houghton suggests some of the following for musicians.

1. Social Networking

· We all know about Facebook, Twitter and YouTube. MySpace is also making a comeback with great interactive tools to market music and other forms of entertainment. Check out the New MySpace.

2. Link Exchange

· Google uses backlinks to measure the relevance of a site. You can designate a section or page for links to other related sites that rank well in your category.

3. Keywords

· Houghton mentions that we should use real words. Posting video and mp3s is not enough. The search engines can only read words. If there are no words then there is no data to rank the relevancy of the content.

You can read the entirety of the articles mentioned by clicking the following links:

Have Keywords Stopped Being A Proxy To The Customer? (Halasz)

9 SEO Tips For Musicians – Simple Steps That Drive Traffic To Your Site (Houghton)

Free Music Marketing Ideas: Give your Music Away?

noreply@blogger.com (Unknown) — Mon, 15 Oct 2012 00:39:00 +0000

Dexter Bryant Jr. wrote an article that I found on Artist Music House called “Free Music = Free Advertising = Smart Business.” That’s an interesting concept in an age where artists, songwriter and the music industry in general are taking every precaution and measure available under the law to stop people getting music for free and Bryant suggest that we give it away. Well I think he is right.

The fact is that there is a lot of competition out there and if we want to get noticed we have to be willing to do what is available to us and take full advantage of the opportunity it brings. The Internet has cut a lot of pay the industry used to get off CD sales. Over the last 12 years the music industry has lost close to 10 billion dollars. However for many, especially the newcomer the Internet presents opportunity.

The newcomer most likely has not lost any money; therefore there is no need to sulk over lost money. The idea here is connect with your fans, people you know and post your music. Encourage them to send it to their friends and family. Ask for likes on Facebook. Just don’t forget to be a friend and not just a social media marketer. People need to know that your not just their to make a name for yourself. If the established stars that know they have lost money over the years can do it. Why cant we?

Of course as Bryant mentions “It All Starts With Great Songs” which is true. Do everything you can to make the song great and make it sound professional. Put one of your best ones out there maybe something great will happen. Social networking and the Internet can be our friend.

Read the full article here:

http://www.artistshousemusic.org/articles/free+music+free+advertising+smart+business

The New Myspace for Artists

noreply@blogger.com (Unknown) — Sun, 14 Oct 2012 23:57:00 +0000

MySpace attempts to return to it former form by going after the artists. Recently Rolling Stone reported a preview video of the MySpace redesigned site. MySpace apparently will use stakeholder Justin Timberlake to help them draw musicians and other entertainment and creative industry people to choose MySpace as the social network of choice.

Since the peak of MySpace’s popularity in 2008 it has lost over 50 million users dropping from 76 to 23 million users over the last 4 years. Not only did MySpace lose its everyday fans, it lost the artists as well. Today’s entertainment and music industry celebrities connect to their fans through Facebook and Twitter. MySpace seeks to change this around and after viewing the preview video I believe they are on the right track.

The preview seems to suggest that MySpace will no longer be the strict competitor to Facebook as it once was but it will incorporate Facebook into its purpose and allow the user sign in using their Facebook or Twitter user information. The plan is to focus on winning back the artists first then they will open it up to the consumers. What is unique is that it will allow the artist to have a place that will automatically link the fan to their music and everything that goes along with that.

I thought MySpace was near dead, but now I believe we will see it rise again but this time with a little more focus. Facebook will be the general site MySpace will be the place where you market your business and interests.

Check it out.
https://new.myspace.com/play

Research for this article found at the following links.

http://www.ocregister.com/articles/myspace-374356-artists-says.html

http://origin-www.rollingstone.com/culture/blogs/gear-up/justin-timberlake-myspace-owners-ready-revamped-artist-centric-site-20120927

https://new.myspace.com/play

Publishers in the music business and why the songwriter may need to become one

noreply@blogger.com (Unknown) — Mon, 17 Sep 2012 03:21:00 +0000

As a songwriter there are many aspects of the music industry that we need to understand to truly be successful. The first skill we need to have is a desire and ability to write songs. The next most important skill we need is the ability to market that song. That’s where at the publisher comes in.

A publisher has many roles that have everything to do with getting your songs and music on albums and airplay. As stated in the Music Publishing Overview Tutorial, a publisher’s job is to issue license your work to others for use. In other words, you would partner with a publisher to shop your songs and issue a license to record labels to use the song for albums or a movie production company for a major motion picture. In some sense you can call them a type of middleman between the songwriter and the company that uses the song.

Publishing Deals:

There are typically 3 types of publishing deals. The first is called a full publishing deal. In a full publishing deal the publisher you contract with gets 100% of the publishing and administrative rights. The second is called a co-publishing deal where that deal would be a 50/50 split between you and the publisher you choose to work with. Choice two assumes that you have developed and registered your own publishing company. The third is called an administration deal, which only gives the publishing company the administration rights to the work.

Out of the three types of deals the co-publishing deal may be the best choice for the songwriter’s pockets. Remember publishers get paid on all works they are contracted for which could include performance, mechanic, and visualization royalties. As a songwriter you want to keep as much of that in your pocket as possible. A co-publishing deal works is detailed in the following chart.

The above chart shows you the songwriter and publisher getting 75% of the song royalty. 25% would go to the publisher you partner with. 100% of the publishing wrights would only be 50% of the royalty for the song. If you sign 100% of the publishing wrights to someone else you would be signing over 50% of you the song rights away as well. It pays to become a publisher and keep more of your money.

Check out the following links for more information on publishers in the music business.

http://www.bmi.com/video/entry/558410

http://www.bmi.com/video/entry/558411

http://www.bmi.com/video/entry/558418

http://www.bmi.com/video/entry/558408

Taylor Hicks and BeBe Winans at the RNC. Is it a good choice for their careers?

noreply@blogger.com (Unknown) — Mon, 03 Sep 2012 03:32:00 +0000

Over the years we have watched many performances from artists at the national conventions of the Democrat and Republican parties on election year. Last week America watched Mitt Romney accept the official nomination as the Republican Party candidate for President of the United States at the Republican National Convention. During that convention America also watched season 7 American Idol winner Taylor Hicks and Gospel/R&B singer, BeBe Winans take the stage as performers on Romney’s big night.

In this charged political season is it smart for artists to risk association with any political party. As a manager how would you advise your client? The question I’m asking is, “Is this a good choice for their careers, why, or why not?

What’s good about it?

We have to consider the stage. Performing at the RNC is an opportunity for anyone to be seen. For so many years these political conventions have served as a step to the rise of new candidates for President. Including our current president. That same stage can serve as a form of publicity for the music artists as well. Approximately 30 million people watched the final night of the RNC. Imagine that kind of exposure for an artist. BeBe Winans who is apparently a registered Democrat, stated that “we are all Americans before we are apart of any political party” when asked about the possible implications of his appearance there. BeBe performed America America free of charge. Even though he didn’t make any money for the performance the spotlight on that stage in this politically charged environment could turn out to be priceless.

The challenge.

The challenge for any artist could be taking on the opportunity to perform for a convention that their fans do not approve of. Paid or not, an appearance can imply alliance with that political party. For most a performance at one convention may be more acceptable to the fans than the other. However if your fan base is primarily one-sided doing business with the opposed side could be devastating.

Check out BeBe’s interview about his performance at the RNC

http://www.youtube.com/watch?v=T02WcOg0DcE

Other Works Referenced

http://content.usatoday.com/communities/onpolitics/post/2012/08/romneys-opening-acts-taylor-hicks-bebe-winans/1#.UEQNJo6eas8

http://www.examiner.com/article/bebe-winans-sings-at-the-republican-national-convention

Music Industry Lawyers

noreply@blogger.com (Unknown) — Mon, 27 Aug 2012 02:39:00 +0000

Recently I viewed three posted videos on the Artists Music House website. The videos were interviews with entertainment lawyers Randall Minter, Peter Shukat and Barry Menes. The videos contained important information that every music industry professional should know concerning the music industry in general, contracts and the importance of obtaining a lawyer and legal advice.

Peter Shukat, founder and partner of Shukat Arrow Hafer Weber & Herbsman, L.L.P. out of New York broke down the valuable information on licensing and the types needed for music professionals. However for this post we will discuss the basic registration needed for writing and recording music.

Basically a song writer needs 2 copyrights. The first is a copyright is for written songs. This is the one that most are already familiar with because it protects the song written by the writer. If you want to protect you music and have the ability to sue when your music is used without your permission, you must register the copyright. The second however is one that is not known by most, it is called a recording copyright. The recording copyright protects the recording of a work. It is possible to own the song and not the recording. In the interview Shukat describes a scenario of an artist who wants to sample a recording of a musical work. That artist needs permission not only from the writer, but also from the owner of the recording.

Attorney Randall Minter is an entertainment lawyer based in Atlanta, GA. Minter discussed many things but in particular we will focus on the roll of the Entertainment Lawyer and his or her importance to the artist. Randall says, these days lawyers do not really get involved until there is some sort of contract already in play. A consultation fee could cost between 2 and 5 hundred dollars an hour. The lawyer’s job is to basically interpret and negotiate the terms of the contract on behalf and in the interest of the client.

It is important to remember the following points when choosing a lawyer.

Lawyers can not have a conflict of interest. They can not represent you and the opposing party. (Minter)
Lawyers should be trusted. It’s a personal thing. (Shukat)
Lawyers are a good place to start. They can lead you to other professionals in the industry that the artist needs. (Menes)

Hear Minter, Shukat and Menes share there expertise in its entirety located on the following links.

Kendall Minter

http://www.artistshousemusic.org/node/5369/6036
Peter Shukat

http://www.artistshousemusic.org/node/5368/3347
Barry Menes
http://www.artistshousemusic.org/node/5369/239

Avoiding Lawsuits in the Music Business

noreply@blogger.com (Unknown) — Mon, 06 Aug 2012 01:17:00 +0000

For this post I want to discuss the importance of understanding some basics of protecting yourself in the music industry. We will take a look at some current lawsuits and how the importance of the written agreement, getting permission, and insurance is needed for any business.

The Importance of a Written Agreement

In my research I found an article where James Prince the man who apparently discovered Drake (Aubrey Graham) is suing Drake’s management team for owed money and to prevent a negotiation that would cut him out. Prince claims that after introducing Drake in 2007 he realized that he was going to be cut out in 2009. Prince says that he then negotiated an agreement that would allow him to receive a share of the profits. Apparently Aspire has failed to pay him any money.

Prince also alleged that managers around Drake have attempted to “loot” the business, which could be devastating to the future financials of the artist. There may be some truth to that because Drake has put them on notice that they are in breach of contract and is demanding a renegotiation, which could cut out Prince totally.

In my opinion James Prince should have demanded a written agreement that states all of the information he needed to have included. Prince says that he had a verbal agreement. He is in a bad position to prove what he is owed.

You can read more about that case here:

http://www.hollywoodreporter.com/thr-esq/drake-management-team-accused-jeopardy-lawsuit-355345

Get Permission

Delaware Company served Madonna and WB Records with a copyright infringement notice alleging that they sampled the song “Love Break” in Madonna’s 1990 hit “Vogue.” Apparently in 2011, Delaware acquired technology that helps them detect samples used in other works. According to Delaware Company, producer Richard Pettibone, who was hired by VMG to remix “Love Break” also worked on “Vogue.” They believe that he sampled the horn and strings and attempted to hide it by altering the music.

I believe that it’s important to make sure you have permission when sampling music from other works. Altering the sound does not make it unique because the source would not be available with out the original owner. If it is in fact not a sample WB Records may have a difficult time attempting to prove it because of the similarities of instruments used and the common producer.

You can read more about that case here:

http://www.rollingstone.com/music/news/madonna-hit-with-lawsuit-over-vogue-sample-20120713

Some Things Can’t be Controlled --- Get Insurance

A mom for hurting her ears at a concert, is suing Justin Bieber. The report states that Bieber somehow instigated a screaming frenzy from the crowd by waving his arms. Stacey Wilson Betts is apparently suffering from hearing loss, tinnitus and hyperacusis in both ears. She is suing Island Def Jam Records and Bieber for $9.2 million.

I agree that concerts can be loud. I would also agree that the audio technicians should be aware of how loud the speakers are at certain distances. However it is a little hard to control the crowd. If the crowd causes the problem, is that the artists’ fault? Apparently she has a case. My opinion is some things can’t be controlled; you got to have insurance in case you are found liable.

You can read more about this case here:

http://music-mix.ew.com/2012/07/13/justin-bieber-lawsuit-too-loud-concert/

Finding an Artist Manager

noreply@blogger.com (Unknown) — Mon, 23 Jul 2012 03:46:00 +0000

As musicians we desire to focus on talent and gifted side of the business. However we must be careful to not forget that the music industry is a business. We should be dedicated to learning more about business strategies, contracts, and finances along side learning new chord progressions and vocal runs.

This is the reason why management is important to the advancement of any artists’ career. One of the ways to get management is to choose a manager. Recently I read a book titled “This Business of Artist Management” by Xavier M. Frascogna and H. Lee Hetherington. In the following paragraphs I will briefly review their ideas on the manager’s role and management choices as discussed in chapters 2 & 3.

Artist Managers Role

The manager’s role is to simply do and be what ever the artist needs to help advance the artists’ career. In most cases the artist will business aspects of the business including negotiating, tour planning, and advising. In addition many managers are known to also contribute to the creative aspect of the business as well including helping to choose what songs will be selected for an album, and lyrics. The manager is the overseer. In many ways they enable the artist to focus on music and the manager will focus on the extras.

Management Options

Essentially there are 3 categories of management options. The first one is Self Management. Self management is probably the cheapest choice for an artist or band. It simply means that you will manage yourself and is often a good choice for new careers as there is not the same demand for time as there is for established artists. Usually an artist or band that manages them will be face conflict once they experience some success and no longer have the time to organize. Also the lack of experience and/or education could cost them money in the long run.

Next is Limited Management. A limited manager usually will take on specific duties that the artists require and all other aspects of managing will be done by the artists. For example the limited manager might be an attorney who is only responsible for the contracts and negotiations of the artist. That artist would then be responsible for booking, tour planning, appearances, etc. The limited manager does not usually take on the responsibility of the artist’s career advancement. This option is good for artists who still have time to be a manager but need to delegate tasks to others who can get something done more efficiently.

The last option is Total Management. The total manager is usually involved in all aspects of the artist’s career. The person or firm would take on full responsibility to advance the career of the client. The total manager is the most likely choice for the established artist who needs and can afford full time services to manage their day to day tasks.

Check out the following for more info on artist management.

http://www.artistshousemusic.org/articles/how+lawyers+differ+from+managers

Artist Management

noreply@blogger.com (Unknown) — Wed, 04 Jul 2012 03:25:00 +0000

One thing that is crucial in the music business is the ability to manage the artist and or music. Although many bands and artist attempt to do it themselves, it is naive to think unless you are doing it well you are going to be successful in this business. Artisthouse Music provides a wealth of resources and information to the student of the music business. Here are some key points I took from my personal study.

Recently I viewed a video interview of David Purcell on the Artisthouse Music website. David Purcell teaches in the Music Business program at New York University. Purcell shares a lot of wisdom and experience concerning the industry. He speaks of probably almost everything that pertains to the music business and management. Some of those topics include:

1. Management Ethics

2. Copyright Law

3. Management Conduct

4. Getting Started with Artist Management

Just to name a few. However I want to home in on a few key points that Purcell shares which is foundational in artist management success, and can help the artist know what to look for in a manager.

Passion

Most successful business professionals and entrepreneurs will suggest that the beginning of success starts with passion. Purcell confirms that as to also be true in the music business. He says that one of the most important things that an artist manager needs is passion. His advice is to pick a genre of music that you are passionate about and artist that you can be passionate about as well. Knowledge and skills make us more efficient. Passion gives us the drive needed to follow through. For all the artists out there, remember that the manager works for you. He or she should be at least as passionate about the style of music as you are and passionate about you. A manager with experience and connections can go a long way as well, but a manager who loves what you do and how you do it means that they will work for you harder.

Education

Although it’s not a requirement, it is suggested that business courses can go along way to helping the artist manager. Purcell mentions that a manager needs to have a wide knowledge about the music industry. He should be a sort of “jack of all trades.” I would narrow that down a little more and say that the manager should be a “music business jack of all trades.” In other words, be a “jack that specializes in the music business.

We all don’t have the luxury of going back to school to study business or music but that’s not an excuse. We have the Internet, books and the ability to network. The fact is that if we want knowledge, it’s out there; we just have to give it some effort. Learning is continual and key in any business. We must be willing to learn as much as we can about every aspect of the business as possible so that we can be a true asset to the artist we manage.

Check out all the videos for David Purcell on Artisthouse Music here.

Check out other topics on Artisthouse Music here.

Negotiating in the Music Industry

noreply@blogger.com (Unknown) — Wed, 20 Jun 2012 04:05:00 +0000

This weekend I interviewed an up and coming producer, manager and booking agent in the Christian music industry named Terry Dillard, co-owner of Cinder Entertainment. Cinder Entertainment represents artists such as Freddy Rodriguez, Ricardo Sanchez and Tye Tribbett, which are some to the top names in the Christian music industry today.

In this short interview we discussed the importance of negotiation with emphasis on the topics of separating the people from the problem, dealing with dirty tricks. This week I’m going to share a little bit of the wisdom and knowledge I gained from our conversation.

On the topic of separating the people from the problem, Terry says that it’s mandatory. Cinder Entertainment mostly represents Christian artists; therefore they work with churches most of the time. The size of the churches that Terry deals with is usually sizeable churches with thousands of attendees. Terry finds that the problem is usually in the fact that approvals for spending limits are often miscommunicated. The result is often delayed deposits and delayed approvals from the artist managers, which lead to heated conversations. Terry mentions that it’s very important to understand the position of every one involved and be the liaison for solutions.

When I mentioned dirty tricks, the first thing that came to Terry’s mind was a promoter. Terry says that his experience is that promoters tend to use dirty tricks the most because they are attempting to make a commission for their promoted event. Cinder Entertainment asks for an honorarium for their artists, which requires a deposit upfront. Promoters unlike most churches have to do more to make a profit because they have to pay for a venue and help. Churches have staff and volunteers that are available for all of their projects. Terry says that promoters are usually less willing to negotiate because they do not want to take on the risk. Some will use dirty trick negotiations to lower their risk. The way Terry has dealt with that is to work with promoters occasionally and not regularly.

Consider Adele's Songwriting Success

noreply@blogger.com (Unknown) — Mon, 21 May 2012 02:54:00 +0000

Over the past couple of months I have posted a few thoughts for the songwriters to consider when creating songs that matter to people who listen. I mentioned that we should probably study what makes the top in our industry successful and duplicate it in our own uniqueness. You can read that post here: What Can We Learn From Music Business Top Earners Lists?

When considering a top artist in our industry today that we all can learn from, Adele cannot be overlooked.

BMI recently posted an article by Jewly Hight titled, Why Adele and Her Songwriting Will Always Matter. This article does a good job of explaining, what I think is the secret to the Grammy award wining star’s success. Essentially Adele’s secret is connection.

During a 60 Minute interview with Anderson Cooper Adele mentions that she found it difficult to think that there are 20 million people listing to music that she wrote, “selfishly to get over a breakup.” I on the other hand am not that surprised at all. One issue for a lot of us today is that were trying make hits so we try to think up things to write about that others will accept. That can work, but connection to your work is better.

Using this article on Adele posted by BMI, I will point out a couple of points on how writing with personal connection can help with your connection to a possible audience.

Maximizes Poetry

Fraser T. Smith, who has produced and co-written songs with Adele said that he was struck by, ”how she can deliver lines which are pretty simple yet contain such amazing imagery.” The lesson here is that situations in life that consume your emotions and your thought life give you the ability to break them down poetically. You have an ability to explain, compare, and give analogies on subjects you experience on a personal level. Chances are that if your going through it, someone else is to. Your strong connection to what you’re going through may directly connect and help someone else explain what he or she is going through as well.

Maximizes Performance

The following quote says it all:

“When I sing ‘Someone Like You,’ I know that every single person in the room will be able to relate to it. That’s where that emotional connection comes from. I have sympathy for myself, I have sympathy for them, they have sympathy for me, and I know that we are all there knowing exactly how each other feels”- Adele

Connection to your music frees you to genuinely display the emotion of your music. It will teach others to display their emotion as they connect with it as well. As you are able to make that authentic connection, you will lead the audience into their own authentic connection. As a result they will feel that same connection every time they hear your song.

Songwriter Success

noreply@blogger.com (Unknown) — Mon, 07 May 2012 01:54:00 +0000

One thing that I have noticed is that there are a lot of artist out there from all genres of music, however, only few are making a real impact on with their audience. Of course we understand that every one is not going to get the spot light, but there are so many out there that have a tremendous amount of talent, and their only problem is not knowing or understanding the right things to do to take their music to the next level.

I regularly review BMI’s songwriter 101 career advice articles to be informed of the strategies, techniques and wisdom involved with becoming a songwriting success. A recent article posted April 27, 2012 called, Seeking Songwriting Success: Three ways Follow-Through Pays Off by Cliff Goldmacher, gives 3 steps to help songwriters become more efficient.

Step 1: Get the song finished.

This is probably as simple as it gets. The first step is to finish your songs. We all have songs laying around in places that have not been finished yet. Goldmacher reminds us, although we love what we do, we still have to treat our songwriting activity as work.

My suggestion is to treat that activity like a real job. Time management is key in any business venture. As songwriters we are entrepreneurs. We have to make sure that we are finishing projects that we start. A regular schedule for songwriting is in order to make sure we get this done efficiently.

Step 2: Get the song demoed.

Maybe you have heard one of the stories of how some songwriter or artist was in the right place at the right time and a music industry professional heard them sing or noticed their song and signed them on the spot. Well that’s probably rare. We have to be proactive about getting a professional recording of our songs. Goldmacher mentions that we don’t have to demo everything, just our best stuff. Although anything can happen its better to be prepared, and being prepared may require some investment.

For those who may not have the capital to go out and get demos done, I can make a suggestion to you that has worked for me. Get out and network. One good connection can open a door for good things to happen for you that can save you a lot of money. It pays to be open to offering your gifts, skills and talents to others in the industry.

Step 3: Get the song placed.

Obviously it’s not enough to get the songs recorded but the right person needs an opportunity to hear them. We have to pitch the song. The issue is that pitching involves something that most of us don’t like to do, sell. Goldmercher calls it “an absolute necessity” for selling music. Goldmercher mentions a way to enhance this activity by studying industry pitch sheets to find artists and other music industry professionals looking for music for a variety of needs. He also stresses the importance of follow-up on the songs that you pitch.

I found a really interesting website that is great for songwriters looking to get their songs reviewed by industry professionals. The website is www.musicxray.com. This site allows you to upload your music for free for professionals to review for use. According to the testimonials it seems to be a pretty good site to use and get your songs placed.

Check out more from BMI’s Songwriter 101 articles here.

http://www.bmi.com/news/all_articles

How Do You Tell A Story?

noreply@blogger.com (Unknown) — Tue, 17 Apr 2012 03:38:00 +0000

Recently I reviewed a video called How to spot a liar, on the TED Ideas worth spreading website. The speaker was Pamela Meyer. The video was a very interesting study that gives the viewer information on the mannerisms of liars. In her almost 20 minute speech she goes over how to spot a liar through speech patterns and facial expressions. Furthermore Meyer talks about who lies, why they lie and how it comes so naturally.

I’m sharing this video because I wanted to take a deeper look and study how a professional shares a story or information with an audience to keep them engaged even when the subject is serious. Our subject is the music business and how the aspiring musician songwriter and artist can affect it, but we can’t forget that its still business. We have to learn the skill of a sales person and marketer and the ability to tell the story is one way that can be achieved.

There a couple of things that I noticed about how Meyers shares her information that I believe can be beneficial to us as progressing storytellers.

She begins the talk with an opening statement that can be taken as insulting when she says, “it has just come to my attention that the person on your left is a liar.” Meyer goes further to mention that the person on the right and the person in your very seat is also a liar. Even though I knew her direction from the beginning, the statements still grabbed my attention and from that moment I desired to finish the video.

Secondly I enjoyed the way Meyer used slight humor, which was refreshing considering a very serious subject. I was impressed with the way humor can be used in a way that that makes the audience laugh and learn at the same time. It doesn’t have to be used constantly just slightly and consistently.

Lastly, Meyer used well-known figures to explain and demonstrate her points. The use of historical events and figures seems to be great ways to engage the audience, to not only think about the subject, but also to learn. As an example, Meyer used the famous press conference President Clinton held after the Lewinski scandal leaked. As she explained how the certain use of distant speech and wording by Bill Clinton could be an indicator of deception, I found myself reminiscing about that day and what I missed during that small speech in the 90s. Now I will always remember the points of that speech that indicate deception. I learned something.

Check out more from the TED website here:

www.ted.com

Check out Pamela Meyer: How to spot a liar

How to spot a liar

Pamela Meyer

What can we learn from RIAA

noreply@blogger.com (Unknown) — Thu, 29 Mar 2012 03:55:00 +0000

For those of us who really are interested in perusing careers in the music industry, we have to pay attention to the associations that are working on our behalf. RIAA is one of those associations. RIAA stands for Recording Industry Association of America. The members are the record labels that produce, create, manufacture and distribute most of the music produced in the US. The RIAA supplies lots of information about the music industry to professionals, fans and parents as well However for this post we will focus on the area of statistics and what that means to the music industry professional.

The key research for RIAA is called “shipment statistics.” Shipment statistics is a way that RIAA describes net sales of recordings including digital transactions. These stats can be very helpful to any of us who want to take a deeper look into the industry and discover some details that may help us to maximize marketing and production dollars spent. The statistics show net number of units shipped and the dollar value accumulated for those sales. The numbers are compared to the previous year and a % change column shows the increase or decrease in shipments and retail dollar value between the two.

Here are some key components that I believe will be helpful to all of us. You can check out the stats here: http://76.74.24.142/FA8A2072-6BF8-D44D-B9C8-CE5F55BBC050.pdf

Component #1: You still need actual CDs for your albums. Although there was a 4.8% drop in shipments between 2010 and 2011, which resulted in an 8.5% drop in revenue, CD sales still had revenue of almost 3 times the revenue of downloaded albums. Make no mistake digital is the future and must be embraced as it has increased 22% from 2010 to 2011, but we still have to give people something to put in their hands.

Component #2: When it comes to singles get it to iTunes ASAP. Although it seems that people still rather buy albums as CDs, when it comes to singles, digital is the way to go. CD singles do show a 28% increase between the two years, however when compared to the numbers of shipments, CDs singles don’t stand a chance. Digital singles had 1.3 billion shipments in 2011 compared to 1.3 million CD singles shipped that same year. Also digital single downloads show an increase of almost 11% in 2011 from 2010. The lesson here is to get your finished projects to the sites to be digitally downloadable as soon as possible because people don’t seem to mind paying a little money for 1 song online.

The RIAA is a great resource for music industry people. You can view that last two years of compared data for free on the RIAA website. You can access more information as a due paying member.

All information for this post has been from data supplied on the RIAA web pages located in the following links.

About RIAA

Key Research

So What Exactly Is A Shipment?

Shipment Numbers

What Can We Learn From Music Business Top Earners Lists?

noreply@blogger.com (Unknown) — Thu, 15 Mar 2012 01:39:00 +0000

On March 9, 2012 Billboard posted what they called Music’s Top 40 Money Makers 2012. Apparently for at least the last three years they have posted top earners in the industry with a description of how their money was made. The data that was used to configure the possible incomes of these artists were basically airplay, record sales and tours. What was not so simple is the general math that was used to estimate how much money was made. However it is very interesting to see, according to Billboard, who are the moneymakers and what that could mean towards trends and popularity among music fans.

The fact is that we give our money to what we like. If you want to find out what people like and what they are connected to, find out where they spend their money. McDonalds is not going anywhere because too many people have decided with their dollars that there should be a restaurant on every major road in every major city in the U.S.A. While I’m not sure if the same statement would be totally accurate for the music business, we can at least say that is true temporarily, as trends in entertainment consistently change.

The point is that we should be able to look at this data published by the Billboard staff and come to some very good possible conclusions or at least a hypothesis of what we as writers, producers and artists can do to make our selves more money.

Factor # 1: Touring is a must. We all know the story of how the Internet is making it more difficult for the music business people to make money in the business. There is only two ways to approach this fact, fight it or embrace it. It seems that the majority of these top 40 list makers have decided to embrace it to some degree. Let the fans get a little for free, and hit them in the pocket for ticket sales. With all that we can get for free at home on the computer, still it seems that nothing beats seeing your favorite artist live on stage. Lady Gaga who topped the list in 2011with over $30 million, grossed $70 million from the tour. Ranked number 4 in 2012 with $25 million, Gaga grossed $51 million from the tour. This trend is similar for most of the ranked artist on this list. Touring is the primary thing that earns money in the music business today.

Factor # 2: Study the rock, country and pop genres. I apologize to all the urban hip-hop and r&b fans but the truth is in the top 10. In 2012 and 2011 there was only one representative for each year from the urban genres, Lil Wayne (2012) and The Black Eyed Peas (2011). In 2010 there were none in the top 10 as Beyoncé was the closest at number 13. Maybe there is something to learn from the band U2 who apparently made over $100 million in 2010 and over $30 million in 2012. Maybe there is something that we can capitalize on. How do they market? Who do they market to? Listen to their songs. What do they sound like? What are they about? There is no need to change a style to sound like another, but what can be done to appeal to more people without compromising who we are in our music?

Factor # 3: Study the legends. Every year, from 2010 until now, a legend with a 30 plus year career breaks the top 10 of these lists. This year it was Bon Jovi at number 7 with just under $16 million. Last year there were 2 with Paul McCartney at number 10 with $14 million and, again, Bon Jovi at number 2 with $30 million. For so many, popularity is only a season, but for artists like those just named it seems to be a lifetime. In 2010 Bruce Springsteen made the list at number 2 with over $57 million made. The question is how does he do it? What is his inspiration? What is his strategy? What can we learn to create longevity in our music? What is the message that lasts forever, not just today? Maybe the answers to these questions can put money in our pockets for several years to come too.

Check out Billboard's moneymaker lists for the last three years.

2012

2011

2010

All data used for this post was retrieved from the above links on Billboard's website.

BMI Songwriter Workshop Review

noreply@blogger.com (Unknown) — Thu, 01 Mar 2012 03:20:00 +0000

Recently BMI posted a series of videos onto their newsfeed, of a songwriter workshop held in Atlanta, GA, moderated by BMI executive Byron Wright. Hit making songwriters India Shawn of Full Circle, Shama “Sak Pase” Joseph of the Jugganauts, Reo of the Sound Killers and Kief Brown of The Building, were the panelist educating their listeners on various topics of songwriting. Some of the topics discussed were:

· Working With Limited Means

· Taking Less Credit Than You Deserve

· Pitching A Song

The workshop was great for not only the beginning songwriter, but for any songwriters in the industry to serve as a reminder of the mental and psychological state you need to be in as we take our crafts to the next level.

The following is a brief review of a few topics that I believe are crucial to songwriters of any genre.

In the video titled “Know Them Now – Songwriting Techniques & Tips, the panelists talk more about wisdom than analytical technique here. The theme should have been, "Follow Passion, Which Is What You Do.” Shama Joseph goes into detail about the most foundational requirement of any songwriter, which is to write songs. We have to remember, that there is no excuse for not doing what we call our selves. We have to make time to do the craft. If we are not making time to write songs, we should question whether or not we are actually songwriters. Reo mentioned the need to be careful of being what he calls “The Trifecta”, which would in other words is a “jack-of-all-trades.” I agree that we need to do what we do best, and perfect that. Perfecting what we do the best makes us more valuable.

Another video that’s really good for the songwriters out there, is the video titled “Know Them Now – Choosing a Direction & Working With Limited Means.” One of the biggest hindrances of the artist unknown is the lack of resources to make the song presentable. Here the panelists eliminate the excuse of not having enough money, and give tips and techniques on how to move forward with limited means. Reo goes in depth on how we can use the Internet to help market and get songs played on iTunes. This could be a lifesaver for many who have been struggling with trying to find resources for studio time and a finding a market for songs. India Shawn really describes the strength of networking and collaboration. She claims from the age of 15 up until now, that she has not paid any money for studio time. We know if she didn’t, someone else did, but how do you make that happen? The answer is network. Find out who does what you need well. You may find that they need you just as much. Shama Josephs says, “Barter your gifts.” Making your talents available can open the door for needs to be met down the line.

These panelists have had some significant success in their short careers. It’s encouraging to know that their stories are similar to so many of ours as artist and songwriters. Listening to them lets us know that the success we seek may not be as far as we think.

Other topics for the workshop included the following:

Introductions

Stories Behind The Hit Songs

Challenges Faced After “Making It”

Dealing With “No”

Knowing What To Say “No” To

Getting Your Songs Played Nationwide on iHeartRadio Not Such A Long Stretch

noreply@blogger.com (Unknown) — Sun, 05 Feb 2012 06:02:00 +0000

Clear Channel’s iHeartRadio added new stations to its selection. Here is what’s so big about this addition; the stations that they added are all college campus stations.

14 of some of the countries well known universities will take their local radio appeal to the entire nation. Clear Channel’s CEO John Hogan told Billboard that those 14 universities are just the first selection and that they will be looking for more colleges to participate in the near future

For those who may not know, iHeartRadio is an Internet radio company that gives access to stations around the nation, including a variety of genres to its subscribers for free.

What does this mean for the unknown artist or the little guy trying to make it to the big leagues?

It simply means you have another door that is possible for you walk in. College and university radio stations are government funded. They usually are not reliant on the need to run commercials. Therefore, they are not subject to the need to mainly give play to mainstream marketed acts to make sure that they get an audience advertisers would pay for.

One of the greatest milestones of any artist is to get their first radio play on a mainstream radio station. However, that can be difficult without the right connections or status, as radio stations are bombarded with demos to sift through regularly. Since school radio stations are not relying on selling businesses time to advertise on their stations they tend to be more liberal in their song selection and their willingness to work with locals.

Here are the statistics from the iHeartRadio website.

They have a National Reach of:

· 237M monthly listeners in the U.S.

· 55M listening hours a month

· 30M unique digital visitors

· 41M iHR app downloads

A strategy to get your songs played on your local university’s radio station could mean tens of thousands or even hundreds of thousands more people around the country listening to your best song.

The following are some steps that you could take to possibly get acquainted with a university station.

Step one: Be Ready. In other words, have radio ready tracks ready for listening. Do everything in your power to make sure that your recording is as professional as possible. Go in with your best foot forward.

Step two: Start Listening. If your school has a radio station, or if you’re in a college town, start listening to their shows. Find out who the music people are. Who are the hosts, what type of shows do they run? Find out what they are doing in the community and make plans to attend some events. Network and become familiar.

Step three: Make Contact. Once you find out who the music people are, find out ways to contact them. They may mention their contact information on their shows or via websites. Contact by email, phone, text, or through some one that knows them. Face to face is also an option if possible, especially if you attend a community event where the people that you want to meet are.

In fact, many college stations are ran by the students who are being groomed in communications or any profession connected to the radio medium, including music. You never know, the person your contacting may need you as apart of an assignment or project. You might find that they would be glad to get you in the studio for a 10min interview and agree to put your songs on the list for a week.

Finally: Be willing to give back. The key is to build ongoing healthy relationships. You may be called upon. Be ready for yes answers when you can. Chances are your going to need more than one radio play to get to where you want to be.

More helpful articles on the subject below:

Clear Channel Press Release

RollingStone