The music business continues to change and evolve. Younger music fans are downloading music faster than ever before and it's doubtful that they will stop anytime soon. The question is should music be free or sold? What is the opportunity cost by allowing music to be available for free to the consumers or sold in various digital formats? Importantly, what do independent recording artist gain by giving their music away for free versus selling it? Should music being free as a way to sell other products and services sold or endorsed by artist? I'd add this into the mix of such a business model.
1) Businesses should still pay and for all accounts they will pay to use music -music licensing through performance rights organizations (in the U.S. ASCAP, BMI & SESAC).
2) Music may be used in commercial jingles, advertisements, movie soundtracks, video games, ringtones, ring backs, movie scores, etc.
3) In business it is often overstood that 80% of the revenue is generated from 20% of the customers -the 80/20 Rule or upselling.
4) While there are a lot of great artist none of them sound, move, nor look like Sade (I'm a fan and will buy her music and pay to see her perform). I was introduced to trip-hop by first hearing Portishead (I've bought there CD's a few times and will pay to see them perform when they return to the U.S) I'm saying all this to say that part of this issue is artist creating great music and connecting with fans on a level that encourages purchases of merch and music related items.
5) I think the business model exist, but has to be cultivated and that a new approach has to be assigned in order to make it work. Perhaps we are truly in the long tail of niche markets. Perhaps if we look to greater niche marketing will find greater success stories among recording artist and new music labels.
Saturday, July 26, 2008
Music Business -Beat Making Producer
After reading Lease Beats Make Money a gentleman had a few questions for me. Below are my responses to the composers music business questions.
THE PRODUCER ASKED:
"is requesting 1/100th of the profit for producing a track [for a recording artist] on an album asking too much if the license fee is low?"
ANSWER:
No, asking for 1/100th of the profit for producing a track on an album is not to much if that is what you are believing you are valued at and what you're worth as a music producer. On the other hand the answer is YES, if the person you're negotiating the terms with thinks so and they are not willing to pay you the money.
THE PRODUCER STATED:
"10 cents a copy would only make me as much as the license fee if the sales reached 20,000 units (on a $200 license), so I didn't see what the big deal was, he would have to go platinum for me to even see a hundred g's out of 10 million in sales."
RESPONSE:
At .10 cents a copy this is what the math translates into.
(.10cents X 2,000/units =$200)
(.10cents X 1,000/units =$100)
(.10cents X 20,000/units =$2,000)
(.10cents X 1,000,000/units = $100,000)
If an artist is signed to a major label and had 10 songs produced by ten different producers using your production royalty rate they would have to pay $1,000,000 in royalties in total if they were to sell 1,000,000 units (.10cents X 1,000,000/units = $100,000/music producer) then you would multiply ($100,000/music producer X 10 PRODUCERS= $1,000,000)
Given the way major label deals are structured this would not be practical from a royalty perspective for a recording artist, as they may see $100,000 or so at best after recouping the initial investment made by the major label for the project.
However, the royalty rate may be significantly different given the artists is the owner or one of the owners of the label they are signed to and are using an independent distributor where they burden the marketing and advertising cost.
My suggestion is that you see what there counter offer is. If the artist and their team don't have a counter offer and are firm on only paying you $200 for an exclusive track then you need to consider what they bring to the table. For instance, perhaps this artist is well known A level or B level artist and you know they are going to market and promote the song adequately. In this case you'd ensure that you are given proper credit for producing the track and seek for them to get in writing that they are going to push the song to radio and release it as a single. Given, an artist is thinking about releasing 1,000 units they wouldn't fit the A or B level criteria, as artist at these level typically will release several thousand at least in addition to digital singles.
Additionally, if the artist is not an A or B level artist and their team is set on only paying you $200 for an exclusive track and are not willing to submit to you a reasonable counter offer it may be time to step away from the table and look for new clients, as this doesn't seem to be a mutually beneficial arrangement (win/win) based on the information you've provided and what you are seeking.
THE PRODUCER SAID:
"it seems to me that there should be more producers requiring back end money along with the front end money, this would make it easier for a producer like me to cheaply license beats and not feel like we are gonna get shorted on the profits if the artists actually press up units and sell them."
RESPONSE:
Cheaply licensing beats and producing tracks is a bit different and should be approached from different vantage points. While I want go in-depth here I will say that licensing tracks is typically done on a non-exclusive basis and usually cost lower monies. Producing tracks typically takes more work on the part of the producer and this is where getting paid more front and "back-end" money becomes more paramount. I'd strongly suggest re-reading Lease Beats Make Money, as there's some wisdom that may help you. You'll also want to download the Los Angeles Music Industry Connection Ebook
THE PRODUCER MENTIONED:
"also [I] have worked with a lot of lyricists over the years and for the most part it has been on a volunteer basis."
RESPONSE:
Perhaps it's time to find you one to three artists at the most that you truly believe in and start to develop their talent and craft. Additionally, you'll cultivate their sound while providing your signature touch to their music. You'll in fact become the A&R by doing artist development. This requires a different level of sacrifice and dedication, but the rewards may be gigantic and may push you to the next phase of your business and career as a seasoned music producer. You'll also want to consider becoming more selective as to the artist that you produce music for on a volunteer basis.
Should you need, want or require additional assistance I'd me more than happy to discuss my consulting retainer, so we may get started immediately to ensure we do our best to help you achieve your goals and realize your potential. You may call 678-887-4656.
SPECIAL NOTE: This part was not included in the original response, but emerging music producers should seek to have their music used in tv and other sources and not just recorded by singers and rap artist.
Lease Beats Make Money
Music Industry Connection
Indie Music Conference
Industry Pimping
Music Conference
Music Jobs
THE PRODUCER ASKED:
"is requesting 1/100th of the profit for producing a track [for a recording artist] on an album asking too much if the license fee is low?"
ANSWER:
No, asking for 1/100th of the profit for producing a track on an album is not to much if that is what you are believing you are valued at and what you're worth as a music producer. On the other hand the answer is YES, if the person you're negotiating the terms with thinks so and they are not willing to pay you the money.
THE PRODUCER STATED:
"10 cents a copy would only make me as much as the license fee if the sales reached 20,000 units (on a $200 license), so I didn't see what the big deal was, he would have to go platinum for me to even see a hundred g's out of 10 million in sales."
RESPONSE:
At .10 cents a copy this is what the math translates into.
(.10cents X 2,000/units =$200)
(.10cents X 1,000/units =$100)
(.10cents X 20,000/units =$2,000)
(.10cents X 1,000,000/units = $100,000)
If an artist is signed to a major label and had 10 songs produced by ten different producers using your production royalty rate they would have to pay $1,000,000 in royalties in total if they were to sell 1,000,000 units (.10cents X 1,000,000/units = $100,000/music producer) then you would multiply ($100,000/music producer X 10 PRODUCERS= $1,000,000)
Given the way major label deals are structured this would not be practical from a royalty perspective for a recording artist, as they may see $100,000 or so at best after recouping the initial investment made by the major label for the project.
However, the royalty rate may be significantly different given the artists is the owner or one of the owners of the label they are signed to and are using an independent distributor where they burden the marketing and advertising cost.
My suggestion is that you see what there counter offer is. If the artist and their team don't have a counter offer and are firm on only paying you $200 for an exclusive track then you need to consider what they bring to the table. For instance, perhaps this artist is well known A level or B level artist and you know they are going to market and promote the song adequately. In this case you'd ensure that you are given proper credit for producing the track and seek for them to get in writing that they are going to push the song to radio and release it as a single. Given, an artist is thinking about releasing 1,000 units they wouldn't fit the A or B level criteria, as artist at these level typically will release several thousand at least in addition to digital singles.
Additionally, if the artist is not an A or B level artist and their team is set on only paying you $200 for an exclusive track and are not willing to submit to you a reasonable counter offer it may be time to step away from the table and look for new clients, as this doesn't seem to be a mutually beneficial arrangement (win/win) based on the information you've provided and what you are seeking.
THE PRODUCER SAID:
"it seems to me that there should be more producers requiring back end money along with the front end money, this would make it easier for a producer like me to cheaply license beats and not feel like we are gonna get shorted on the profits if the artists actually press up units and sell them."
RESPONSE:
Cheaply licensing beats and producing tracks is a bit different and should be approached from different vantage points. While I want go in-depth here I will say that licensing tracks is typically done on a non-exclusive basis and usually cost lower monies. Producing tracks typically takes more work on the part of the producer and this is where getting paid more front and "back-end" money becomes more paramount. I'd strongly suggest re-reading Lease Beats Make Money, as there's some wisdom that may help you. You'll also want to download the Los Angeles Music Industry Connection Ebook
THE PRODUCER MENTIONED:
"also [I] have worked with a lot of lyricists over the years and for the most part it has been on a volunteer basis."
RESPONSE:
Perhaps it's time to find you one to three artists at the most that you truly believe in and start to develop their talent and craft. Additionally, you'll cultivate their sound while providing your signature touch to their music. You'll in fact become the A&R by doing artist development. This requires a different level of sacrifice and dedication, but the rewards may be gigantic and may push you to the next phase of your business and career as a seasoned music producer. You'll also want to consider becoming more selective as to the artist that you produce music for on a volunteer basis.
Should you need, want or require additional assistance I'd me more than happy to discuss my consulting retainer, so we may get started immediately to ensure we do our best to help you achieve your goals and realize your potential. You may call 678-887-4656.
SPECIAL NOTE: This part was not included in the original response, but emerging music producers should seek to have their music used in tv and other sources and not just recorded by singers and rap artist.
Lease Beats Make Money
Music Industry Connection
Indie Music Conference
Industry Pimping
Music Conference
Music Jobs
Wednesday, July 23, 2008
Music Business -Orphan Works Legislation
I'm feeling a bit lazy this morning, please bare with me as I bring you music business information that could save all of our copyrights. I borrowed the information below from the NARIP, as I thought it to be information that warrants your attention. If you find it to be of value please forward it to others. This is one of the those things that needs to go viral in a major way.
According to the NAIRP--
By Tess Taylor
If you have not yet voiced your objection to the proposed Orphan Works
legislation, please redouble your efforts NOW. Especially those who
live in Congressman Berman's district in California, please write now
and be assertive. I include a sample letter you can use below and/or
click here for a link that will help you find and write to your
Congressional representatives - this takes less than two minutes.
For more background on the proposed Orphan Works legislation, please
see my editorial at www.narip.com. The legislation is driven by
commercial interests, and creates a safe harbor that will allow the
use of songs, sound recordings, illustrations, music videos or any
other copyright in any manner by anyone who is unable to find the
copyright owner after a "reasonably diligent" search "in good faith."
No requirements exist for a "reasonably diligent search" in the Act.
This is bad news for copyright owners.
Please write to your Congressmen NOW!
www.narip.com
====================================================
6. Sample Letter Urging The Congress & Senate to
Reject Orphan Works Legislation (HR 5889 and S 2913)
====================================================
[In lieu of sending the following snail-mail letter, you may opt to do so
online by going here - mail, email, call or do all three - whatever it takes!]
Dear [fill in name of appropriate Representative or Senator here] ---------:
I urge you to reject the above-referenced bills, they are unnecessary and
threatening to the future of America's creative community. These bills
impose unacceptable conditions on authors and owners who wish to protect
their work from unauthorized use. Copyright authors and owners need all
economic deterrents to theft to remain fully intact and operative,
especially when the music industry is already being decimated by
massive worldwide infringement and suffering billions of dollars
in losses each year.
I have no objection to the creation of a database of current owners
of copyrighted works, which would be organized and made accessible
through the U.S. Copyright Office Web site. The Copyright Office
already has an Address Update system of records. If you wish to make
it easier for authors and owners to provide updated contact information
on a voluntary basis, please instruct the Register of Copyright to
activate this Address Update system of records as part of its online
Web site and make it available to the public.
I would also ask that you instruct the Copyright Office to make all of
its records available to the public online, as doing so would obviate
the need for harmful federal legislation like the Orphan Works bills.
Please redouble your efforts to protect music as a rich economic and
cultural asset, which exists only because of the incentives currently
afforded to copyright authors and owners to be adequately compensated
for their work.
Thank you.
Sincerely,
[Insert YOUR NAME here.]
Music Industry Connection
Lease Beats Make Money
Industry Pimping
Music Conference
Music Jobs
According to the NAIRP--
By Tess Taylor
If you have not yet voiced your objection to the proposed Orphan Works
legislation, please redouble your efforts NOW. Especially those who
live in Congressman Berman's district in California, please write now
and be assertive. I include a sample letter you can use below and/or
click here for a link that will help you find and write to your
Congressional representatives - this takes less than two minutes.
For more background on the proposed Orphan Works legislation, please
see my editorial at www.narip.com. The legislation is driven by
commercial interests, and creates a safe harbor that will allow the
use of songs, sound recordings, illustrations, music videos or any
other copyright in any manner by anyone who is unable to find the
copyright owner after a "reasonably diligent" search "in good faith."
No requirements exist for a "reasonably diligent search" in the Act.
This is bad news for copyright owners.
Please write to your Congressmen NOW!
www.narip.com
====================================================
6. Sample Letter Urging The Congress & Senate to
Reject Orphan Works Legislation (HR 5889 and S 2913)
====================================================
[In lieu of sending the following snail-mail letter, you may opt to do so
online by going here - mail, email, call or do all three - whatever it takes!]
Dear [fill in name of appropriate Representative or Senator here] ---------:
I urge you to reject the above-referenced bills, they are unnecessary and
threatening to the future of America's creative community. These bills
impose unacceptable conditions on authors and owners who wish to protect
their work from unauthorized use. Copyright authors and owners need all
economic deterrents to theft to remain fully intact and operative,
especially when the music industry is already being decimated by
massive worldwide infringement and suffering billions of dollars
in losses each year.
I have no objection to the creation of a database of current owners
of copyrighted works, which would be organized and made accessible
through the U.S. Copyright Office Web site. The Copyright Office
already has an Address Update system of records. If you wish to make
it easier for authors and owners to provide updated contact information
on a voluntary basis, please instruct the Register of Copyright to
activate this Address Update system of records as part of its online
Web site and make it available to the public.
I would also ask that you instruct the Copyright Office to make all of
its records available to the public online, as doing so would obviate
the need for harmful federal legislation like the Orphan Works bills.
Please redouble your efforts to protect music as a rich economic and
cultural asset, which exists only because of the incentives currently
afforded to copyright authors and owners to be adequately compensated
for their work.
Thank you.
Sincerely,
[Insert YOUR NAME here.]
Music Industry Connection
Lease Beats Make Money
Industry Pimping
Music Conference
Music Jobs
Tuesday, July 22, 2008
Music Business -Selling Out
Does selling a lot of music mean that the music is good or great music? Does it mean that the music is classic? These were the type of questions that was asked on a music industry forum online. Below is my response. The number question is what was asked and the bold text was my replies.
1) Does selling millions of records mean you are putting out good music?
ANSWER: Yes, if the sells are from the consumers and not from record label purchased music.
2) Does a person who sells lots of records classify them has having a good album?
ANSWER: Yes, if the sells are from the consumers and not from record label purchased music
3) Have we been misguided in to believing that numbers is not the be all to having a classic album?
ANSWER: No
RESPONSE: With some music I may like what you like on others I may dislike what you like. It is about personal taste. No, one person or group of people have a dictate on what good music is -per se. Music is subjective to the end user. Music touches people in different ways. Personally I don't like much of what I've heard from Lil Wayne musically over the span of his entire career. I may even think what I've heard from Lil Wayne is garbage on the other hand I may like everything I've heard from Lil Wayne and think his music is the best thing since the sun rising. Whatever the case it is simply my opinion and hold no real case until I do one of four things.
1) Buy his music
2) Don't buy his music
3) Talk about his music
4) Don't talk about his music
The fact that we are even having this discussion and that Lil Wayne was the example means he and his marketing machine have done something correctly i.e. Lil Wayne and his camp probably don't know who JaWar is yet.
Furthermore, a classic album will truly be tested by the sands of time. I can put on "Between the Sheets" by the Isley Brothers and the song still gets the mood right after 30+ years. This is an example of a classic album/song. Honestly, it is unfair to attempt to call any new release classic for it has not been tested by father time.
Now let's get back to business. Have you downloaded the Music Industry Connection Book Series or watched these music business videos yet? Thats Industry Pimping.
1) Does selling millions of records mean you are putting out good music?
ANSWER: Yes, if the sells are from the consumers and not from record label purchased music.
2) Does a person who sells lots of records classify them has having a good album?
ANSWER: Yes, if the sells are from the consumers and not from record label purchased music
3) Have we been misguided in to believing that numbers is not the be all to having a classic album?
ANSWER: No
RESPONSE: With some music I may like what you like on others I may dislike what you like. It is about personal taste. No, one person or group of people have a dictate on what good music is -per se. Music is subjective to the end user. Music touches people in different ways. Personally I don't like much of what I've heard from Lil Wayne musically over the span of his entire career. I may even think what I've heard from Lil Wayne is garbage on the other hand I may like everything I've heard from Lil Wayne and think his music is the best thing since the sun rising. Whatever the case it is simply my opinion and hold no real case until I do one of four things.
1) Buy his music
2) Don't buy his music
3) Talk about his music
4) Don't talk about his music
The fact that we are even having this discussion and that Lil Wayne was the example means he and his marketing machine have done something correctly i.e. Lil Wayne and his camp probably don't know who JaWar is yet.
Furthermore, a classic album will truly be tested by the sands of time. I can put on "Between the Sheets" by the Isley Brothers and the song still gets the mood right after 30+ years. This is an example of a classic album/song. Honestly, it is unfair to attempt to call any new release classic for it has not been tested by father time.
Now let's get back to business. Have you downloaded the Music Industry Connection Book Series or watched these music business videos yet? Thats Industry Pimping.
Monday, July 21, 2008
Leasing and Selling Music Production
Below is my reply to a young man who asked about what the terms of the agreement may be as it comes to splitting music publishing royalties with a recording artist he was selling an exclusive or non-exclusive track to. I didn't respond to specifics as to a contract as I am not an entertainment lawyer and have never gone to law school and don't hold a law degree. Additionally, it is advised that you always seek out a competent entertainment lawyer when drafting and negotiating a contract to ensure all parties receive a mutually beneficial arrangement. A list of entertainment attorneys may be found in either the Atlanta or Los Angeles Music Industry Connection Books.
Assuming you are seeking radio airplay in the U.S. every songwriter and music producer/composer should register themselves as a member with one of the three pro's in the U.S. -ASCAP, BMI or SESAC. Additionally, every songwriter and music producer/composer should register as a music publisher with at least one of the three pro's in the U.S. While you may only be a writer member of one of the three pro's at a time you may be a publisher member of all three simultaneously.
If the artist didn't right their own lyrics, traditionally they wouldn't be due any performing rights royalties from radio airplay from ASCAC, BMI or SESAC (music publishing). I say traditionally because there may be some super star recording artist that may negotiate receiving performing rights royalties from radio airplay from ASCAC, BMI or SESAC (music publishing) of the song they recorded. While this is probably rare it is possible given that a new music producer or songwriter is seeking to get a placement and have that placement adequately marketed and promoted as a single by the record (new media) label.
If the recording artist writes the lyrics they are performing they would receive the writers share of the performance royalties from radio airplay from ASCAC, BMI or SESAC.
It may be extremely difficult to get anyone who knows about the music business and music publishing who intends on investing significant marketing monies for radio promotions to buy a beat non-exclusively. Anyone who agrees to such an arrangement may be naive to the music business and will ultimately turn in to a headache down the line when they get the skinny. It is typically better to deal with people who know about the business, so that everyone is one the level, as this helps to ensure all parties remains happy when the money starts coming. When selling a track non-exclusively this would be leasing a beat or track and the terms of the agreement are to be decided by the parties involved.
Lease Beats Make Money is JAM-PACKED with over 45 pages of cutting edge information, resources, videos, links and connections on leasing beats and making money. Lease Beats Make Money could easily be sold for $147 or more, but it's being offered as a FREE download for a limited time. Click here to get started.
Assuming you are seeking radio airplay in the U.S. every songwriter and music producer/composer should register themselves as a member with one of the three pro's in the U.S. -ASCAP, BMI or SESAC. Additionally, every songwriter and music producer/composer should register as a music publisher with at least one of the three pro's in the U.S. While you may only be a writer member of one of the three pro's at a time you may be a publisher member of all three simultaneously.
If the artist didn't right their own lyrics, traditionally they wouldn't be due any performing rights royalties from radio airplay from ASCAC, BMI or SESAC (music publishing). I say traditionally because there may be some super star recording artist that may negotiate receiving performing rights royalties from radio airplay from ASCAC, BMI or SESAC (music publishing) of the song they recorded. While this is probably rare it is possible given that a new music producer or songwriter is seeking to get a placement and have that placement adequately marketed and promoted as a single by the record (new media) label.
If the recording artist writes the lyrics they are performing they would receive the writers share of the performance royalties from radio airplay from ASCAC, BMI or SESAC.
It may be extremely difficult to get anyone who knows about the music business and music publishing who intends on investing significant marketing monies for radio promotions to buy a beat non-exclusively. Anyone who agrees to such an arrangement may be naive to the music business and will ultimately turn in to a headache down the line when they get the skinny. It is typically better to deal with people who know about the business, so that everyone is one the level, as this helps to ensure all parties remains happy when the money starts coming. When selling a track non-exclusively this would be leasing a beat or track and the terms of the agreement are to be decided by the parties involved.
Lease Beats Make Money is JAM-PACKED with over 45 pages of cutting edge information, resources, videos, links and connections on leasing beats and making money. Lease Beats Make Money could easily be sold for $147 or more, but it's being offered as a FREE download for a limited time. Click here to get started.
Sunday, July 20, 2008
Music Business Tuff for Scott Storch
Have you planned for your success? If you haven't you could fail miserably, because you thought the good times would always roll. It's been said by a score of men that becoming rich and super wealthy isn't the hardest part, it's keeping it! Keep this in mind as you prepare to become rich and famous as a beat making producer and composer.
It's equally, if not more important to have a plan on what to do when you start generating $10,000, $100,000 even $1,000,000 contracts and royalty checks. We often don't discuss this, but it's extremely important as you may achieve your goals and realize your potential and find yourself making the money you've always hoped, prayed, wish, dreamed and worked for. A simple way to start preparing for later is to start doing now. For instance, save and invest 10%-25% of any money you earn in other businesses, real estate, equities (stock market), bonds, precious metals and other opportunities that seem to be sound based on your own research.
The music business can be elusive and fool you into thinking that when you start making money you'll continue making money as a music producer, recording artist, musician, music manager or songwriter, etc. Inside the Music Industry Connection Books there's a section that talks about Creating Wealth and in that section there are a list of terms and websites that you may use to further your own education, knowledge and overstanding on saving and investing. The best part is you don't have to wait until you become super-rich and famous. As stated above it's best to learn for yourself now and put your plan into action as this will great increase your chances for maintaining the lovely lifestyle you envision for yourself and love ones. Download the Music Industry Connection Books to learn about the music business and creating wealth right now.
Below is information how one of the hottest producers in 2004 who generated millions in royalties seems to have fallen from grace, because of not staying humble and mis-management of money. You decide.
ACCORDING TO THE ASSOCIATED PRESS--
In 2004, everyone wanted the Storch sound, and he reportedly commanded $100,000 per beat. An extensive Rolling Stone profile called him "hip-hop's Liberace" and said he had earned $70 million. Scott Storch was one of the top producers in pop music, living in a $10.5 million mansion on an exclusive Miami island, driving a phalanx of luxury cars and dating the likes of Paris Hilton and Lil Kim.
..Storch built his name on numbers as much as on skills. He may not have adapted to the changing economy and the downsized music industry.
It's equally, if not more important to have a plan on what to do when you start generating $10,000, $100,000 even $1,000,000 contracts and royalty checks. We often don't discuss this, but it's extremely important as you may achieve your goals and realize your potential and find yourself making the money you've always hoped, prayed, wish, dreamed and worked for. A simple way to start preparing for later is to start doing now. For instance, save and invest 10%-25% of any money you earn in other businesses, real estate, equities (stock market), bonds, precious metals and other opportunities that seem to be sound based on your own research.
The music business can be elusive and fool you into thinking that when you start making money you'll continue making money as a music producer, recording artist, musician, music manager or songwriter, etc. Inside the Music Industry Connection Books there's a section that talks about Creating Wealth and in that section there are a list of terms and websites that you may use to further your own education, knowledge and overstanding on saving and investing. The best part is you don't have to wait until you become super-rich and famous. As stated above it's best to learn for yourself now and put your plan into action as this will great increase your chances for maintaining the lovely lifestyle you envision for yourself and love ones. Download the Music Industry Connection Books to learn about the music business and creating wealth right now.
Below is information how one of the hottest producers in 2004 who generated millions in royalties seems to have fallen from grace, because of not staying humble and mis-management of money. You decide.
ACCORDING TO THE ASSOCIATED PRESS--
In 2004, everyone wanted the Storch sound, and he reportedly commanded $100,000 per beat. An extensive Rolling Stone profile called him "hip-hop's Liberace" and said he had earned $70 million. Scott Storch was one of the top producers in pop music, living in a $10.5 million mansion on an exclusive Miami island, driving a phalanx of luxury cars and dating the likes of Paris Hilton and Lil Kim.
..Storch built his name on numbers as much as on skills. He may not have adapted to the changing economy and the downsized music industry.
"Costs have come down because it's an absolute necessity. We're certainly not able to spend beyond what our budgets are for making records," said Kallman. "If a producer's out of our price range, we've gotta move to another producer. There's always new people." The executive says Storch has not produced any recent Atlantic tracks but that they have "been talking."
Storch seems also not to have saved for a rainy day — a fatal mistake in pop music. "There's no 401k plan in the music industry," says Infamous. "You can't be stupid and just throw your money away."
Nowadays, Scott Storch, 34, is missing in action. He owes over $500,000 in real estate taxes and had a warrant out for his arrest... Click here to read the full story.Friday, July 18, 2008
Music for Reality TV
Someone was ranting and raving about one of the famous reality tv shows in an online music forum and a few people chimed in to talk about the show. Given these were emerging songwriters, music producers and recording artist I responded with the following...
Did you notice the background music during the show. Did you notice the music played during the commercials? Did you notice the music during the opening and ending credits for the show?
Do you realize that the songwriters, music producers and music publishers will receive royalty checks from ASCAP, BMI & SESAC for public performance? Do you know how to get your music placed in tv shows and as commercial jingles? Did you know you don't have to be signed to a major label to make this money? Music Industry Connection Book Series is the Truth. http://www.gomusicconnection.com
Did you notice the background music during the show. Did you notice the music played during the commercials? Did you notice the music during the opening and ending credits for the show?
Do you realize that the songwriters, music producers and music publishers will receive royalty checks from ASCAP, BMI & SESAC for public performance? Do you know how to get your music placed in tv shows and as commercial jingles? Did you know you don't have to be signed to a major label to make this money? Music Industry Connection Book Series is the Truth. http://www.gomusicconnection.com
Music Jobs and Music Careers
Would you believe in this economy while people are getting laid off seemingly left and right there are music jobs available? Would you believe you could still pursue music jobs and actually find one, even some? Yes, there's a new music business blog up that is strictly about music careers and music jobs. Visit mymusiccareers.blogspot.com to look for music jobs. Now that's Industry Pimping.
Wednesday, July 16, 2008
Music Manager Owes $300 Million
While this post is a bit off the beaten path from my usual music business blogs, I thought it was interesting nonetheless and wanted to share it with you.
According to Travis Reed, Associate Press Writer--
The creator of super boy band groups the Backstreet Boys and 'N Sync swindled a staggering $300 million from banks and investors in a decade-long scam. Lou Pearlman is currently serving 25 years for his crime and will have to repay the money. Click here for the full report.
Music Industry Connection
Music Conference
Indie Music Conference
Get More Music Fans
According to Travis Reed, Associate Press Writer--
The creator of super boy band groups the Backstreet Boys and 'N Sync swindled a staggering $300 million from banks and investors in a decade-long scam. Lou Pearlman is currently serving 25 years for his crime and will have to repay the money. Click here for the full report.
Music Industry Connection
Music Conference
Indie Music Conference
Get More Music Fans
Who May Save the Music Business?
According to the Economist
"...when the majors realised that digital downloads were not growing as quickly as they had hoped, they landed on a more adventurous digital strategy. They now want to move beyond Apple's iTunes and its paid-for downloads. The direction of most of their recent digital deals, such as with Imeem, a social network that offers advertising-supported streamed music, is to offer music free at the point of delivery to consumers. Perhaps the most important experiment of all is a deal Universal struck in December [2007] with Nokia, the biggest mobile-phone maker, to supply its music for new handsets that will go on sale later this year. These “Comes With Music” phones will allow customers to download all the music they want to their phones and PCs and keep it—even if they change handsets when their year's subscription ends. Instead of charging consumers directly, Universal will take a cut of the price of each phone. The other majors are expected to strike similar deals.
You the free thinking musician, singer, songwriter, music producer/composer that takes their craft and business serious. The one who has a burning desire, practical written plan and executes that plan daily may save the recorded-music industry. Those who are able to carve a niche and take full advantage of that niche by giving fans what they want, when they want and how they want it are in the best possible position to create and sustain a fruitful career in the music business -it mat be simpler than you think.
What can you do today to move your business forward?
Start where you are and grow from there. Attend every music conference, music showcase and networking event in your city or town. These events tend to be good ways to network and learn more about the music business. If there are no events locally create some. Read books such as the Music Industry Connection Book Series (authored by me), social networking platforms such as Youtube, Hits-A-Million and others. There are a wealth of resources, tools, blogs, videos, websites and music consultants available to help navigate your course, but you must take action and strike first. By doing this you're doing more than 85%. It has been my experience that if I talk to a room of 100 people and give them a basic assignment to do after the music conference less than 15% will follow through.
What can you do tomorrow to move your business forward?
Repeat what you did that worked yesterday over and over again until your processes and procedures become a well oiled system -the secret. Additionally, you'll want to keep your eyes and ears open to new possibilities, they are within you and surround you all the time, if only you were more aware. No, matter how rich, wealthy and famous you become, you'll always want to remain humble and ask what may I do to improve next time? How may I add greater value to my valued clients, customers and fans? What may I do to give more of myself, so that I may help others achieve their goals and realize their potential? Think of new products and services that you can sell to existing clients and fans -up selling is one of the keys to becoming financially independent in business. For example, super-rich recording artist don't become rich over night, it's only after having a string of number one hit songs, touring extensively over the years, selling a number of different products (merchandise), licensing a number of their songs and often endorsing various products and services do they become rich and super wealthy.
Who may save the music business?
You the emerging music industry executive who believes in developing, protecting and financially compensating great talent. The new music business executive who is willing to try new things, go against the beaten path to chart a new course during these uncertain economic times and shift in the music business model. The person who understands technology enough to either embrace it or move out the way and let those that do, do the work may save the music business.
Throughout this site you'll find a wealth of resources at your disposal. It is your task to use all resources afforded to you, as you are the one who may save the music business.
"...when the majors realised that digital downloads were not growing as quickly as they had hoped, they landed on a more adventurous digital strategy. They now want to move beyond Apple's iTunes and its paid-for downloads. The direction of most of their recent digital deals, such as with Imeem, a social network that offers advertising-supported streamed music, is to offer music free at the point of delivery to consumers. Perhaps the most important experiment of all is a deal Universal struck in December [2007] with Nokia, the biggest mobile-phone maker, to supply its music for new handsets that will go on sale later this year. These “Comes With Music” phones will allow customers to download all the music they want to their phones and PCs and keep it—even if they change handsets when their year's subscription ends. Instead of charging consumers directly, Universal will take a cut of the price of each phone. The other majors are expected to strike similar deals.
“‘Comes with Music' is a recognition that music has to be given away for free, or close to free, on the internet,” says Mr Mulligan. Paid-for download services will continue and ad-supported music will become more widespread, but subsidised services where people do not pay directly for music will become by far the most popular, he says. For the recorded-music industry this is a leap into the unknown. Universal and its fellow majors may never earn anything like as much from partnership with device-makers as they did from physical formats. Some among their number, indeed, may not survive. Click here to read the full article.
Who can save the recorded-music industry?You the free thinking musician, singer, songwriter, music producer/composer that takes their craft and business serious. The one who has a burning desire, practical written plan and executes that plan daily may save the recorded-music industry. Those who are able to carve a niche and take full advantage of that niche by giving fans what they want, when they want and how they want it are in the best possible position to create and sustain a fruitful career in the music business -it mat be simpler than you think.
What can you do today to move your business forward?
Start where you are and grow from there. Attend every music conference, music showcase and networking event in your city or town. These events tend to be good ways to network and learn more about the music business. If there are no events locally create some. Read books such as the Music Industry Connection Book Series (authored by me), social networking platforms such as Youtube, Hits-A-Million and others. There are a wealth of resources, tools, blogs, videos, websites and music consultants available to help navigate your course, but you must take action and strike first. By doing this you're doing more than 85%. It has been my experience that if I talk to a room of 100 people and give them a basic assignment to do after the music conference less than 15% will follow through.
What can you do tomorrow to move your business forward?
Repeat what you did that worked yesterday over and over again until your processes and procedures become a well oiled system -the secret. Additionally, you'll want to keep your eyes and ears open to new possibilities, they are within you and surround you all the time, if only you were more aware. No, matter how rich, wealthy and famous you become, you'll always want to remain humble and ask what may I do to improve next time? How may I add greater value to my valued clients, customers and fans? What may I do to give more of myself, so that I may help others achieve their goals and realize their potential? Think of new products and services that you can sell to existing clients and fans -up selling is one of the keys to becoming financially independent in business. For example, super-rich recording artist don't become rich over night, it's only after having a string of number one hit songs, touring extensively over the years, selling a number of different products (merchandise), licensing a number of their songs and often endorsing various products and services do they become rich and super wealthy.
Who may save the music business?
You the emerging music industry executive who believes in developing, protecting and financially compensating great talent. The new music business executive who is willing to try new things, go against the beaten path to chart a new course during these uncertain economic times and shift in the music business model. The person who understands technology enough to either embrace it or move out the way and let those that do, do the work may save the music business.
Throughout this site you'll find a wealth of resources at your disposal. It is your task to use all resources afforded to you, as you are the one who may save the music business.
Sunday, July 13, 2008
How An Entertainment Lawyer May Help?
A question was posed on a music business forum asking how may an entertainment lawyer help you and I wanted to share my response with you.
Because the legal profession has a certain amount of respect entertainment attorneys often are able to have conversations with a wide range of professionals in the music business.
Outside of drafting and negotiating contracts and consulting you, what an attorney may do to help you and your business varies from attorney to attorney. An attorney may have extensive contacts at major labels, while others may enjoy connections in tv and film, yet others may have built alliances with technology companies.
Additionally, it may be wise to look at your business plan to determine where you're wanting to be over the next 1, 3 and 5 years. Upon looking at your plan you may know how an attorney may best help or at least compliment your situation.
Music Industry Connection
Music Producer Resources
Because the legal profession has a certain amount of respect entertainment attorneys often are able to have conversations with a wide range of professionals in the music business.
Outside of drafting and negotiating contracts and consulting you, what an attorney may do to help you and your business varies from attorney to attorney. An attorney may have extensive contacts at major labels, while others may enjoy connections in tv and film, yet others may have built alliances with technology companies.
Additionally, it may be wise to look at your business plan to determine where you're wanting to be over the next 1, 3 and 5 years. Upon looking at your plan you may know how an attorney may best help or at least compliment your situation.
Music Industry Connection
Music Producer Resources
Monday, July 7, 2008
Music Business Digital Revolution
The music business digital revolution is not when, it's now. The real question is when will you take the oath of success really dig into the post on this music business blog, download the Los Angeles Music Industry Connection Book that has 80+ digital distribution companies and hire someone that will be an asset to your team -digital optimizer so that your online presence is monetized (making money online while you sleep)?
Within 30 to 90 days you could be in a position to make money online and through a number of digital platforms including monetizing your mobile content. If you're not Googleable you ain't what's happening. Being Googleable is more than just popping up on the first page of a keyword search on Google or any major search engine such as Yahoo and MSN for that matter. Being Googleable or searchable means being able to leverage traffic, visitors, eyeballs and ears to your websites were you interact with new and existing fans. Were you build your brand organically and fans reward you financially for your efforts and great music.
According to Jason Ankeny --Online and mobile platforms will account for about 40 percent of total music spending in 2009 according to a new forecast issued by digital media research firm eMarketer. Citing plummeting sales of traditional physical formats as well as recent developments like Vodafone and MySpace's Vodafone Music Reporter venture, eMarketer argues that music fans are seeking digital music communities that deliver a more unique, interactive experience by bringing together online, mobile and user-generated platforms like blogs. Click here to read the full article.
Music Industry Connection
Get More Fans and Friends
Major A&R Contacts
Industry Pimping
Music Business Videos
Within 30 to 90 days you could be in a position to make money online and through a number of digital platforms including monetizing your mobile content. If you're not Googleable you ain't what's happening. Being Googleable is more than just popping up on the first page of a keyword search on Google or any major search engine such as Yahoo and MSN for that matter. Being Googleable or searchable means being able to leverage traffic, visitors, eyeballs and ears to your websites were you interact with new and existing fans. Were you build your brand organically and fans reward you financially for your efforts and great music.
According to Jason Ankeny --Online and mobile platforms will account for about 40 percent of total music spending in 2009 according to a new forecast issued by digital media research firm eMarketer. Citing plummeting sales of traditional physical formats as well as recent developments like Vodafone and MySpace's Vodafone Music Reporter venture, eMarketer argues that music fans are seeking digital music communities that deliver a more unique, interactive experience by bringing together online, mobile and user-generated platforms like blogs. Click here to read the full article.
Music Industry Connection
Get More Fans and Friends
Major A&R Contacts
Industry Pimping
Music Business Videos
Music Business Fame Equity
Fame for the sake of fame is a horrible drug. Fame for the sake of helping people and building wealth, riches and visionary fortunes may be a great thing in the hands of those who yield good will to others. Watch Fortune and Fame and Picking Up Pennies for more info.
As you read through some of my older blogs you'll notice I've shared with you information about how adopting new music business model could position you to earn residual/passive income. Furthermore, you could be in a better position to own and control your copyrights and master recordings.
The rules and the players in the music business are changing. The traditional record business model was guarded by relationships and money, but now that other companies that have money and their own relationships with media giants and emerging companies alike are stepping into the music industry it changes the landscape in a significant way.
Hopefully, as an emerging recording artist, music producer, composer, singer, songwriter and music industry executive, etc. you take full advantage of the opportunities and seek shares/equity in the companies you do business with. Essentially, this is what Tiger Woods, Michael Jordon, Bob Johnson, Oprah Winfrey, Majic Johnson and many others have done to ensure that wealth is created, retained and sustained from one generation to the next. Any half-way savvy business person will seek to position themselves for residual income. Although it doesn't always happen if you seek it more often than not you'll get it in some instances.
Robert Levine writes the following:
The hip-hop and R&B producer Jermaine Dupri has discovered best-selling acts like Kris Kross and Da Brat, has produced hits for Mariah Carey and Jay-Z, and now runs the urban music division of the Island Def Jam Music Group. He’s also looking for fresh talent for a new label financed by a company new to the music industry.
As you read through some of my older blogs you'll notice I've shared with you information about how adopting new music business model could position you to earn residual/passive income. Furthermore, you could be in a better position to own and control your copyrights and master recordings.
The rules and the players in the music business are changing. The traditional record business model was guarded by relationships and money, but now that other companies that have money and their own relationships with media giants and emerging companies alike are stepping into the music industry it changes the landscape in a significant way.
Hopefully, as an emerging recording artist, music producer, composer, singer, songwriter and music industry executive, etc. you take full advantage of the opportunities and seek shares/equity in the companies you do business with. Essentially, this is what Tiger Woods, Michael Jordon, Bob Johnson, Oprah Winfrey, Majic Johnson and many others have done to ensure that wealth is created, retained and sustained from one generation to the next. Any half-way savvy business person will seek to position themselves for residual income. Although it doesn't always happen if you seek it more often than not you'll get it in some instances.
Robert Levine writes the following:
The hip-hop and R&B producer Jermaine Dupri has discovered best-selling acts like Kris Kross and Da Brat, has produced hits for Mariah Carey and Jay-Z, and now runs the urban music division of the Island Def Jam Music Group. He’s also looking for fresh talent for a new label financed by a company new to the music industry.
The new player? Procter & Gamble.
The consumer goods giant is part of a wave of companies getting into the music business to promote their own products, essentially becoming record labels themselves.
Procter & Gamble, for example, is joining Island Def Jam in a joint venture called Tag Records, a label that will sign and release albums by new hip-hop acts. It is named after a brand of body spray that P.& G. acquired when it bought Gillette.
And Mr. Dupri, a music-industry veteran and the longtime partner of the singer Janet Jackson, sounds quite pleased with his new gig.
“I’ve never seen someone wanting to devote this much money to breaking new artists,” said Mr. Dupri, who will serve as president of Tag Records while keeping his position at Island Def Jam. “Nobody in the music business has the marketing budget that I have.”
At a time when online file-sharing is rampant, record stores are closing and consumers are buying singles instead of albums, getting into the music business might seem like running into a burning building. But as record labels struggle to adjust to a harsh new digital reality, other companies are stepping up their involvement in music, going far beyond standard endorsement contracts and the use of songs in commercials. Click here to read the full article on It's American Brandstand -Marketers Underwrite Performers.
Get Music Money
Indie Music Conference
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Music Industry Connection
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Music Showcases
Music Business -Start at the Top
Many recording artists, music producers, singers, songwriters and music managers want to start at the top of the music business. They think this is their quick way to riches, wealth and untold fame equity. While this may be true for a select few most who take this route are rarely around for any long period of time. There music careers are often short-lived and they have no clue on how to bounce back. Worse yet they now have fame and often loose the money and this is something bad I'd imagine.
There's something that some of us do at music conferences, seminars and workshops on a recurring basis. When speaking we suggest to the audience to look to their left, right, behind and in front of them. We suggest that they look at everyone in the room; we tell them that the people they are most likely to work with (come up with) our the people that are sitting right next to them. Additionally, I ask "why are most emerging recording artists, producers/composers, music managers and songwriters, etc. attempting to start at the top, when the people at the top didn't start at the top?"
Point here is there are enough people who are knowledgeable, have experience and who are eager to assist in the music industry throughout various social networking communities, online forums and music business blogs that you may be able to get it popping despite you living in a rural part of the country or a different country from where the music scene is really flourishing.
Dig into these music business social networking communities, online forums, music industry blogs and groups and contribute your experience, information and music business resources and you'll be surprised how it comes back to you ten fold. It's often what you contribute that determines what you take away -karma. Additionally, there are a number of other resources throughout the Internet that act as gateways to more detailed information about the music business.
Start where you are and grow from there. The road to riches, wealth and fame equity is rarely easy. It requires a burning desire, a practical written plan and that your plan be executed relentlessly daily without reservation. Remember to pick up the pennies, they all add up.
Get Music Money
Meet A&R
Music Showcases
There's something that some of us do at music conferences, seminars and workshops on a recurring basis. When speaking we suggest to the audience to look to their left, right, behind and in front of them. We suggest that they look at everyone in the room; we tell them that the people they are most likely to work with (come up with) our the people that are sitting right next to them. Additionally, I ask "why are most emerging recording artists, producers/composers, music managers and songwriters, etc. attempting to start at the top, when the people at the top didn't start at the top?"
Point here is there are enough people who are knowledgeable, have experience and who are eager to assist in the music industry throughout various social networking communities, online forums and music business blogs that you may be able to get it popping despite you living in a rural part of the country or a different country from where the music scene is really flourishing.
Dig into these music business social networking communities, online forums, music industry blogs and groups and contribute your experience, information and music business resources and you'll be surprised how it comes back to you ten fold. It's often what you contribute that determines what you take away -karma. Additionally, there are a number of other resources throughout the Internet that act as gateways to more detailed information about the music business.
Start where you are and grow from there. The road to riches, wealth and fame equity is rarely easy. It requires a burning desire, a practical written plan and that your plan be executed relentlessly daily without reservation. Remember to pick up the pennies, they all add up.
Get Music Money
Meet A&R
Music Showcases
Thursday, July 3, 2008
Music Business Digital Sells Growth
Below is another argument for the need for music business professionals as a whole and the independent music community in particular to look at ways to monetize their Internet presence and give fans what they want -great music in a digital format.
The paid digital download medium scarcely existed five years ago and now it's the biggest growth area in the music business. (It may be the only growth area in the music business.) Billboard reports that album sales in the first half of 2008 totaled 204.6 million, down slightly from 229.8 million in the first half of 2007. Digital track sales for the same period totaled 542.7 million, up substantially from 417.3 million.
This next item makes the point even more dramatically. Just three albums topped 1 million copies in sales (CDs and digital downloads combined) in the first six months of 2008, the lowest total since Nielsen/SoundScan set up shop in 1991. Six albums sold 1 million copies in the first six months of 2007. Fully 16 albums hit the million mark in the first half of 2006. (The business hit its peak in 2001 when a whopping 37 albums reached the 1 million mark in the first 26 weeks of the year.)
CLICK HERE to read the full story.Music Business Independent Grind
Do you view your music has a hobby or business? Are you an active participant in your music business independent grind? Do you constantly take the steps needed to boost your business and move your music career forward?
People often don't want to make the financial investment. Most businesses will attempt to get the highest quality product or service for the lowest price, but they will have to make the investment at some point to grow their business. When creative minds think of themselves not only as artists, producers, singers, songwriters, etc., but as businesses they will approach the music industry in a different fashion and that's where they may begin to get to the next level -whatever that may be for them.
People often don't want to make the financial investment. Most businesses will attempt to get the highest quality product or service for the lowest price, but they will have to make the investment at some point to grow their business. When creative minds think of themselves not only as artists, producers, singers, songwriters, etc., but as businesses they will approach the music industry in a different fashion and that's where they may begin to get to the next level -whatever that may be for them.
Music Business Artists Problems
Thedy B started a forum on Studio Exposed entitled Radio, A&R's and Major Labels are Not Your Problem.
This is an excerpt form part of the discussion by Thedy B "I just recently went to an ASCAP event where Lyfe Jennings was on the panel and he said that he made more money and sold more records when he HAD to grind then when he got signed!"
JAWAR'S REPLY
Often, what you have is displaced vision by emerging recording artist. By displaced I mean that the goal is often to "get signed." Once the emerging recording artist has "gotten signed" they have achieved their goal. If there is no new goal in place i.e. to win a Grammy(s), sell 10,000,000 downloads, go on a worldwide sellout tour, etc. then their hunger stops and so does the continuation of success. Now that's Industry Pimping.
To ensure you minimize having music business problems you'll want to read the Music Industry Connection Book Series and watch JaWar's Music Business Videos.
This is an excerpt form part of the discussion by Thedy B "I just recently went to an ASCAP event where Lyfe Jennings was on the panel and he said that he made more money and sold more records when he HAD to grind then when he got signed!"
JAWAR'S REPLY
Often, what you have is displaced vision by emerging recording artist. By displaced I mean that the goal is often to "get signed." Once the emerging recording artist has "gotten signed" they have achieved their goal. If there is no new goal in place i.e. to win a Grammy(s), sell 10,000,000 downloads, go on a worldwide sellout tour, etc. then their hunger stops and so does the continuation of success. Now that's Industry Pimping.
To ensure you minimize having music business problems you'll want to read the Music Industry Connection Book Series and watch JaWar's Music Business Videos.
Music Business Fame
Can music business fame be controlled or does someone become such a huge commercial success that they rise to iconic status and no longer can live a normal life (whatever they may mean to them and the rest of the free world)?
Fame may be controlled and navigated. It is done by the individual. The person makes a choice how they interact with the public. There are some celebrities that may go out in public and for the most part be them. They don't have entourages and security 24/7 if at all. Then there's some people that want to seem bigger than life and they want leave the house without a staff. Their public will often respond to how they set up the stage.
Warren Buffet, reportedly the richest man in America by Forbes was on a CNBC special. He was shown going to other countries without security. Here's a man worth billions of dollars and is traveling to other countries without security. He was literally shown getting out of his car sort of pushing through the crowd in an attempt to get to his various business meetings.
Fame may be controlled, but it starts from within. Now that's industry pimping.
Fame may be controlled and navigated. It is done by the individual. The person makes a choice how they interact with the public. There are some celebrities that may go out in public and for the most part be them. They don't have entourages and security 24/7 if at all. Then there's some people that want to seem bigger than life and they want leave the house without a staff. Their public will often respond to how they set up the stage.
Warren Buffet, reportedly the richest man in America by Forbes was on a CNBC special. He was shown going to other countries without security. Here's a man worth billions of dollars and is traveling to other countries without security. He was literally shown getting out of his car sort of pushing through the crowd in an attempt to get to his various business meetings.
Fame may be controlled, but it starts from within. Now that's industry pimping.
Music Business Critical of JaWar
The following music business correspondence is from a forum on the Soul Commune (SC) Site. I share the discussion with you to demonstrate that even in an attempt to add value, help others achieve their goals and realize their potential in the music business and make a net profit in the process I get criticized from time to time. Emerging recording artists, music producers/composers, singers and songwriters, etc. are not the only people in the music industry that face adversity and what we often call "haters."
Perhaps there is wisdom below that you may take and apply to your situation to increase the likelihood that you will achieve your goals, realize your potential and make a net profit in the process.
The forum topic is How did you find Soul Commune?
COMMENT MADE TO JAWAR
"JaWar I think you should be more truthful about your activity on other Ning sites. If my memories correct you got stung big time on coopr8. Before you ask, I'm a dj & a music lover.But you don't seem to understand your selling technique is glossy & hard core.You should understand if your into underground music like I am & like so many others are, you just don't fit.Sorry to be so harsh but that's the way you come across. Peace." Diamond
JAWAR REPLIES
Diamond, you may want to look closer into my activity on this and other Ning Sites, perhaps after closer research you'll find that others have received my activity with a warm welcome as I have added value to their business and craft as emerging and aspiring recording artist, musicians, music producers/composers, djs, music business executives and so forth. Furthermore, because of my activity on a number of Ning sites more business is getting discussed, which inevitably will help the emerging music community.
It has been said that fish is good for memory, perhaps you may have some. In terms of a discussion on coopr8 there was/is one young lady who brought issue with me and she has been the only person thus far on that site. Futhermore, her argument was weak at best. She came to me, not me to her, just as you are. Additionally, you came on this forum entitled How did you find Soul Commune? If you are believing my selling technique to be glossy and hard core prior to this forum it would seem that the simple solution would have been simply not to respond to the forum in the second place.
It would appear on the surface that I am not into underground music like you are and like so many others. However, the lower sciences teaches us that we may arrive at a number of 1 in a number of ways. For instance (1+0=1, 2-1=1, 3-2=1, 1x1=1, etc.). The point here it to demonstrate that while on the surface we may not be into underground music the same way we may both have similar intentions on helping others achieve their goals and realize their potential. This of course is assuming that I am into underground music like you are.
The other side of the coin is you have some nerve and audacity to state "You should understand if your into underground music like I am & like so many others are, you just don't fit." What gives you the authority to think I should understand anything and that you hold the key to my approach to music in whole and underground/independent music in part and that I just don't fit.
In the future would be more tasteful, civil and business savvy to send a private message before attempting to put someone on blast in/on a public forum.
When you visit Music Industry Connection, myspace.com/jawarspeaks, myspace.com/gojawar and various Ning Music Sites you'll read the number of people who have benefited from the information they have been provided from my online and offline activity.
Until you share actual facts and not mere assumptions, accusations and opinions you could never be to harsh. :-)
Thank you for the constructive criticism. Perhaps we may both walk away better business people with more wisdom, overstanding and information than before this discussion started.
SPECIAL NOTE:
In fairness this music business blog was posted shortly after I responded to Diamond on Soul Commune, so he may or may not respond to me.
Perhaps there is wisdom below that you may take and apply to your situation to increase the likelihood that you will achieve your goals, realize your potential and make a net profit in the process.
The forum topic is How did you find Soul Commune?
COMMENT MADE TO JAWAR
"JaWar I think you should be more truthful about your activity on other Ning sites. If my memories correct you got stung big time on coopr8. Before you ask, I'm a dj & a music lover.But you don't seem to understand your selling technique is glossy & hard core.You should understand if your into underground music like I am & like so many others are, you just don't fit.Sorry to be so harsh but that's the way you come across. Peace." Diamond
JAWAR REPLIES
Diamond, you may want to look closer into my activity on this and other Ning Sites, perhaps after closer research you'll find that others have received my activity with a warm welcome as I have added value to their business and craft as emerging and aspiring recording artist, musicians, music producers/composers, djs, music business executives and so forth. Furthermore, because of my activity on a number of Ning sites more business is getting discussed, which inevitably will help the emerging music community.
It has been said that fish is good for memory, perhaps you may have some. In terms of a discussion on coopr8 there was/is one young lady who brought issue with me and she has been the only person thus far on that site. Futhermore, her argument was weak at best. She came to me, not me to her, just as you are. Additionally, you came on this forum entitled How did you find Soul Commune? If you are believing my selling technique to be glossy and hard core prior to this forum it would seem that the simple solution would have been simply not to respond to the forum in the second place.
It would appear on the surface that I am not into underground music like you are and like so many others. However, the lower sciences teaches us that we may arrive at a number of 1 in a number of ways. For instance (1+0=1, 2-1=1, 3-2=1, 1x1=1, etc.). The point here it to demonstrate that while on the surface we may not be into underground music the same way we may both have similar intentions on helping others achieve their goals and realize their potential. This of course is assuming that I am into underground music like you are.
The other side of the coin is you have some nerve and audacity to state "You should understand if your into underground music like I am & like so many others are, you just don't fit." What gives you the authority to think I should understand anything and that you hold the key to my approach to music in whole and underground/independent music in part and that I just don't fit.
In the future would be more tasteful, civil and business savvy to send a private message before attempting to put someone on blast in/on a public forum.
When you visit Music Industry Connection, myspace.com/jawarspeaks, myspace.com/gojawar and various Ning Music Sites you'll read the number of people who have benefited from the information they have been provided from my online and offline activity.
Until you share actual facts and not mere assumptions, accusations and opinions you could never be to harsh. :-)
Thank you for the constructive criticism. Perhaps we may both walk away better business people with more wisdom, overstanding and information than before this discussion started.
SPECIAL NOTE:
In fairness this music business blog was posted shortly after I responded to Diamond on Soul Commune, so he may or may not respond to me.
Music Business Police
Dallas Austin multi-platinum music producer and songwriter could have had one of his bodily members removed for having illegal drugs in another country, fortunately, he knew what to do when dealing with the authorities/law enforcement even in another country which was to call his attorney here in the U.S. Given that he probably kept his mouth shut as best he could his attorney was able to probably save his life and get him a plane ticket back to the U.S. (music industry & law enforcement)
Unfortunately, to many recording artist's heads get big when they get a little fame and make a little money, from time to time they find themselves into trouble with the law. Had these artist kept their mouths shut until their attorney was present they may have won their case when going to trial. Since, there will be a number of people reading this music business blog who will achieve great levels of fame and fortune I wanted to give them a heads up on what not to do when confronted by police before their heads got to big. Don't Talk To The Police
Now that's Industry Pimping.
Unfortunately, to many recording artist's heads get big when they get a little fame and make a little money, from time to time they find themselves into trouble with the law. Had these artist kept their mouths shut until their attorney was present they may have won their case when going to trial. Since, there will be a number of people reading this music business blog who will achieve great levels of fame and fortune I wanted to give them a heads up on what not to do when confronted by police before their heads got to big. Don't Talk To The Police
Now that's Industry Pimping.
Wednesday, July 2, 2008
Music Business Email Marketing
Music business email marketing when done correctly is very effective in building your brand, promoting and publicizing your business. One of the best ways to achieve these goals is by finding and staying in direct contact with your target market. Additionally, by having a systematic approach you can easily stay in direct contact with your target market and send them correspondences from time to time.
There are a number of email campaigns that give you the ability to stay in touch with your fans and business associates, etc. Fanbridge is one of the more popular and offers a fantastic cost-effective solution for building your email list. Once more Fanbridge grows as your list grows. As you begin to get more subscribers you should start generating money from your list.
GET MORE FANS TODAY
# Instantly import your current fans
# Create custom signup forms for your website, MySpace, PureVolume, etc.
# Free subdomain for fan signup
# Get your messages into inboxes!
SAVE TIME
# Automatic bounceback handling
# Let fans update their own info
# See real-time fan/campaign stats
# Remove duplicates automatically
# Formatted merch table signup forms
COMMUNICATE BETTER
# Easily create sending groups
# Send customized html/text emails
# Send messages to cell phones
# Schedule future blasts
# Geo-target to specific areas
There are a number of email campaigns that give you the ability to stay in touch with your fans and business associates, etc. Fanbridge is one of the more popular and offers a fantastic cost-effective solution for building your email list. Once more Fanbridge grows as your list grows. As you begin to get more subscribers you should start generating money from your list.
GET MORE FANS TODAY
# Instantly import your current fans
# Create custom signup forms for your website, MySpace, PureVolume, etc.
# Free subdomain for fan signup
# Get your messages into inboxes!
SAVE TIME
# Automatic bounceback handling
# Let fans update their own info
# See real-time fan/campaign stats
# Remove duplicates automatically
# Formatted merch table signup forms
COMMUNICATE BETTER
# Easily create sending groups
# Send customized html/text emails
# Send messages to cell phones
# Schedule future blasts
# Geo-target to specific areas
Tuesday, July 1, 2008
Music Business Stability
People who have been in the music business for at least 24 months know how unstable the music industry can be in terms of generating consist cash flow. Below is my response to a young man who was asking should he stay in school and pursue his degree or take a plunge in the music business full time. He like anyone reading this post was/is concerned about how stable the music business IS NOT.
First, congrats on being in school. It's always a great thing to explore your many gifts, talents and passions. Second, I'd suggest stretching your creative imagination as not to get caught in the world of "the underground." Secretly, I think most people want their craft appreciated by the most amount of people possible. After all if you could have a choice of 1,000 people downloading your music and 1,000 people paying to see you perform vs. 1,000,000 people downloading your music and 1,000,000 people seeing you perform while on tour which would you choose? More than likely the latter (1,000,000+).
The goal is to make the best music you can make, have a burning desire, practical written plan and back that plan with daily execution. Brand, market, promote and publicize your craft to your target client (fan/consumer) in an effort to get them to be a part of your movement. Invest the least amount of money without sacrificing quality or integrity and maximize profits without compromising your personal interest or harming others. Find as many ways as possible to make money online and off. "Think globally and act locally" -Chuck D.
Given that you the things mentioned above and that may be found in the Music Industry Connection Book Series you'll learn how to stabilize your own music business even while others are scrambling and trying to figure it out. TRUTH be told [young man] most people don't make the bulk of their money from the music business. It typically comes from other business ventures. The music industry is a sexy business which gives many people the platform to create other situations. You are on the right track.
ANSWER: Stability is within you! Now that's Industry Pimping. View music business videos.
First, congrats on being in school. It's always a great thing to explore your many gifts, talents and passions. Second, I'd suggest stretching your creative imagination as not to get caught in the world of "the underground." Secretly, I think most people want their craft appreciated by the most amount of people possible. After all if you could have a choice of 1,000 people downloading your music and 1,000 people paying to see you perform vs. 1,000,000 people downloading your music and 1,000,000 people seeing you perform while on tour which would you choose? More than likely the latter (1,000,000+).
The goal is to make the best music you can make, have a burning desire, practical written plan and back that plan with daily execution. Brand, market, promote and publicize your craft to your target client (fan/consumer) in an effort to get them to be a part of your movement. Invest the least amount of money without sacrificing quality or integrity and maximize profits without compromising your personal interest or harming others. Find as many ways as possible to make money online and off. "Think globally and act locally" -Chuck D.
Given that you the things mentioned above and that may be found in the Music Industry Connection Book Series you'll learn how to stabilize your own music business even while others are scrambling and trying to figure it out. TRUTH be told [young man] most people don't make the bulk of their money from the music business. It typically comes from other business ventures. The music industry is a sexy business which gives many people the platform to create other situations. You are on the right track.
ANSWER: Stability is within you! Now that's Industry Pimping. View music business videos.
Music Business Contracts Needed
A personal account of why music business contracts are needed.
Sometime ago I was invited to speak at a music conference. The conference was away from my home market and required that I either fly or drive. It was not terribly far, but far enough to warrant securing a hotel room, so I decided to drive.
In any event I discussed my request with the music conference organizer and they agreed to what I'd requested. Unfortunately, there were other provisions that hadn't been discussed verbally, but were said to have been emailed to me -I'm still checking :-). Honestly, I don't recall getting the correspondence concerning the other provisions as they may have deterred me from attending the event. There was never a written document (music business contract) clearly outlining the expectations of both parties.
After hearing what considerations/accommodations had been provided to other speakers I felt slighted. I contacted the music conference organizer and let them know how I felt in addition to giving constructive criticism about the conference. Feeling slighted was totally my fought as I should have requested more. Let me explain how this works contractually and why having music business contracts are needed. Additionally, I will explain what I consider to be as my mother has taught me "THE PROPER THANG TO DO!"
Although I hadn't requested certain provisions "THE PROPER THANG TO DO" from the conference organizer's standpoint was to give equal accommodations to all of there speakers, especially the one's who had already demonstrated the value they brought to the conference. The value I'd shown prior to the event was by actively promoting the music conference online.
My goal was to provide you with first hand experience on how miscommunication and not having a music business contract in place may lead to misunderstandings. You'll want to have a competent entertainment attorney to review and draft contracts on your behalf. You may find a list of entertainment lawyers in both the Los Angeles and Atlanta Music Industry Connection Books.
For additional resources on the music business visit the following links:
Music Industry Connection
Indie Music Conference
Get Music Money
Industry Pimping
Music Business Videos
Atlanta Music Showcase
Sometime ago I was invited to speak at a music conference. The conference was away from my home market and required that I either fly or drive. It was not terribly far, but far enough to warrant securing a hotel room, so I decided to drive.
In any event I discussed my request with the music conference organizer and they agreed to what I'd requested. Unfortunately, there were other provisions that hadn't been discussed verbally, but were said to have been emailed to me -I'm still checking :-). Honestly, I don't recall getting the correspondence concerning the other provisions as they may have deterred me from attending the event. There was never a written document (music business contract) clearly outlining the expectations of both parties.
After hearing what considerations/accommodations had been provided to other speakers I felt slighted. I contacted the music conference organizer and let them know how I felt in addition to giving constructive criticism about the conference. Feeling slighted was totally my fought as I should have requested more. Let me explain how this works contractually and why having music business contracts are needed. Additionally, I will explain what I consider to be as my mother has taught me "THE PROPER THANG TO DO!"
- Music Conference organizer contacts JaWar about speaking
- Conference organizer and I verbally or over email discuss expectations from both parties
- We conclude on the expectations, considerations and accommodations
- My company would email/fax contract to conference organizer
- The contract would have all of the provisions discussed and a clause that states equal and/or better accommodations should xyz were to change
- The conference organizer would email/fax back the contract with any changes
- My company would contact organizer about any changes and send the contract back
- The conference organizer would resubmit the contract signed
- My company would sign the contract
- Both entities would receive a copy of the contract
Although I hadn't requested certain provisions "THE PROPER THANG TO DO" from the conference organizer's standpoint was to give equal accommodations to all of there speakers, especially the one's who had already demonstrated the value they brought to the conference. The value I'd shown prior to the event was by actively promoting the music conference online.
My goal was to provide you with first hand experience on how miscommunication and not having a music business contract in place may lead to misunderstandings. You'll want to have a competent entertainment attorney to review and draft contracts on your behalf. You may find a list of entertainment lawyers in both the Los Angeles and Atlanta Music Industry Connection Books.
For additional resources on the music business visit the following links:
Music Industry Connection
Indie Music Conference
Get Music Money
Industry Pimping
Music Business Videos
Atlanta Music Showcase
Music Business Online Communities
Wow, the Internet and Mobile Technology continue to change the landscape of the music business and empower musicians, indie artists and new media companies (formerly record labels) it seems daily. New and emerging platforms have made it easier and more effective to be actively engaged with each other online. The catch phrase of today is Web 2.0, the funny thing is I never heard of Web 1.0. lol
In any event indie artists and new media companies have the ability to find and cultivate relationships with potential fans by actively engaging in conversation using online music forums and personalized social networks such as Ning and Kickapps.
What has worked for me on music business communities is:
To ensure your information is right on time you may want to hire a writer to create a professional bio, have a dj to properly tag your mp3's, take professional photos and cut a few videos. Now you're ready to go and copy and paste until your fingers fall off -ok not really fall off, but you get the idea. These are a few tips on taking advantage of music business communities to help build your brand, market, promote or otherwise publicize what you're doing.
Indie Music Conference
Music Industry Connection
Music Conference List
Atlanta Music Showcase
Get Music Money
Music Business Videos
In any event indie artists and new media companies have the ability to find and cultivate relationships with potential fans by actively engaging in conversation using online music forums and personalized social networks such as Ning and Kickapps.
What has worked for me on music business communities is:
- Having a burning desire to achieve my goals and realize my potential
- Create a practical written plan
- Execute the daily plan in relentless pursuit of continued success
- Not getting emotionally attached to anyone platform, technology or site
- Being consistent with my information across different sites and blogs
- Including photos, images, pictures, videos and mp3's
- Engaging people in thought provoking conversation
- Finding out what others need to boost their business and music career
- Referencing one or more of my sites, blogs, etc. when on another site/community
To ensure your information is right on time you may want to hire a writer to create a professional bio, have a dj to properly tag your mp3's, take professional photos and cut a few videos. Now you're ready to go and copy and paste until your fingers fall off -ok not really fall off, but you get the idea. These are a few tips on taking advantage of music business communities to help build your brand, market, promote or otherwise publicize what you're doing.
Indie Music Conference
Music Industry Connection
Music Conference List
Atlanta Music Showcase
Get Music Money
Music Business Videos
Music Business Copyrights
The music business may appear to be a tricky business, especially for a creative person not really concerned with the inner workings of the industry. One should be mindful that while there is much to learn what is simple to know and should be overstood is that copyrights and music publishing are the backbones of the music business. For this reason I responded to a forum on the Studio Exposed Site, which is partly or wholly owned by multi-platinum music producer and songwriter Byran M. Cox.In fairness to the discussion and the creator of the forum Kurt Kobane, I only took a part of what he wrote, but did so because the way the information reads one could interpret it one way when in fact it was intended as another.
"guess what registering your song doesn't protect you from getting it stole and it doesn't even prove that you created it..all its does IS PROVE YOU WAS FIRST TO REGISTER IT...! damn huh...THERE IS ONLY ONE WAY TO PROTECT YOUR SONG AND YOURSELF AND THATS TO MAKE YOUR SONG FAMOUS BEFORE SOMEONE ELSE DOES..." Kurt Kobane
Here's my response to the quote above:
According to Wikipedia "Copyright is a legal concept, enacted by governments, giving the creator of an original work of authorship exclusive rights to it, usually for a limited time, after which the work enters the public domain. Generally, it is "the right to copy", but also gives the copyright holder the right to be credited for the work, to determine who may adapt the work to other forms, who may perform the work, who may financially benefit from it, and other, related rights. It is an intellectual property form (like the patent, the trademark, and the trade secret) applicable to any expressible form of an idea or information that is substantive and discrete."
According to the U.S. Library of Congress Copyright Office under 501. Infringement of copyright2" (b) The legal or beneficial owner of an exclusive right under a copyright is entitled, subject to the requirements of section 411, to institute an action for any infringement of that particular right committed while he or she is the owner of it. The court may require such owner to serve written notice of the action with a copy of the complaint upon any person shown, by the records of the Copyright Office or otherwise, to have or claim an interest in the copyright, and shall require that such notice be served upon any person whose interest is likely to be affected by a decision in the case. The court may require the joinder, and shall permit the intervention, of any person having or claiming an interest in the copyright."
The U.S. Library of Congress Copyright Office also states the following under 411. Registration and infringement actions 10
(a) Except for an action brought for a violation of the rights of the author under section 106A(a), and subject to the provisions of subsection (b), no action for infringement of the copyright in any United States work shall be instituted until preregistration or registration of the copyright claim has been made in accordance with this title. In any case, however, where the deposit, application, and fee required for registration have been delivered to the Copyright Office in proper form and registration has been refused, the applicant is entitled to institute an action for infringement if notice thereof, with a copy of the complaint, is served on the Register of Copyrights. The Register may, at his or her option, become a party to the action with respect to the issue of registrability of the copyright claim by entering an appearance within sixty days after such service, but the Register's failure to become a party shall not deprive the court of jurisdiction to determine that issue."
There are more details on registering one's copyright in the U.S. through the U.S. Library of Congress.
The reason I bring attention to this is that by NOT registering one's intellectual property (songs & lyrics) with the U.S. Library of Congress (copyright office) you loose the ability to sue for certain damages under the letter of the law. The price per registration as of to day is something like $45 per title. You're going to spend $45 on something silly. Why not make the investment to get the optimum protection possible under the letter of the law?
In the digital age you can't necessarily prevent others from stealing it, but by registering your work with the copyright office you give yourself additional protection.
Copyright Office Click Here. Wikipedia Click Here. Now that's Industry Pimping
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