Why Get Music Agents?

May 25th, 2009

Why is it that playing live is so important and consequently, why should we even think about ways to get music agents?

Since the beginning of time, playing live music has always been an incredible way to connect with our fellow man.

There is something so quintessentially “human” about performing live for others.

Something so real….

Not only is it the test of a good band, its also a great way to connect with potential fans as well as existing ones.

Playing live serves as a great feedback tool.

When you are playing your songs to a relevant audience, you can gauge what works and what doesn’t.

Playing live not only made me a better musician, it made my band’s recordings better.

It enabled us to spread our reputation and allowed us to sell merchandise and earn money from performing.

Yes, touring can sometimes be grueling, but it can also pay very well.

So why get music agents?

Well you don’t have to get music agents, but they can really help.

When first starting out, we would try to get shows and hustle around just to get to play a show to nobody.

Getting the agent changed the game dramatically.

Lets briefly look at what an agent actually does:
The agent makes plans with the band, label and artist, and then books the tour.

The agent will often make all of the arrangements with the promoter of a particular show or group of shows.

In my own experience, both agents and promoters were a really important part of the team that coordinated the initial launch of our career and also dramatically expedited our rise to success.

It took a while for us to get the music agent - we were originally introduced to ours via our manager, but it took us playing a few key shows for him to take us on.
Once we had the agent in place, it was incredible how many great opportunities opened up - support tours and even shows with bands that we grew up listening to.

Usually tours would be booked with a specific goal in mind - initially to build a fan base or to gain profile…and later on to promote a forthcoming release.

The agent would meet with the management, record company and the publicist to decide on a strategy.

Then, he would book a tour around that strategy with the goal of getting maximum impact for both ticket sales and the bands’ agenda.

One of the key reasons to get music agents, especially at this time of saturation, is that the agent will help you to establish credibility as a live act and will get you on to shows that will get you on the radar of others who can further assist you.

More specifically, the agent will be one of the key people that can help turn you from being a band who others perceive as just a “band” to a band that people perceive as professional.

They will help you to get on other people’s tours, to get slots at hard to access festivals, to play at events etc..

Here’s an interesting point though - there are a few bands, big bands mostly, who don’t have an agent. They have got to a point where people come directly to them, and so have no desire to work with an agent.

These would probably be the exception rather then the rule, but for the sake of being thorough - its worth mentioning.

Agents not only have relationships with key people  - e.g., festival organizers, bands, managers etc, but they also have bartering power.  They are able to use existing successful clients of theirs to get favors for their upcoming clients, e.g., “I will get you “Big Band” (big act..) for your festival main stage, but you will have to put on “Small Band” (starting out band) on the small stage.

They can also offer you DJ shows or other non-traditional activities that can be VERY lucrative, e.g., corporate events..

Growing your live profile is a tangible and bankable entity - and for many acts is one of their main revenue streams. Getting an agent can really help expedite this.

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Interview with Up and Coming Artist: Black Suede

December 13th, 2009
Black Suede asked:


Tuesday, April 21, 2009 GLOK Interview: BLACK SUEDE - Best Of Every World: The Under Side Of The Music

Current mood: inspired Category: Music BLACK SUEDE - Best Of Every World: The Under Side Of The Music

By: GLOK a.k.a Frank Black

Some people live for the music, some people live through the music.. This next blazin unsigned sensation GLOK & Mafioso brings to you is known to do it all.. Doing it major for SC. Black Suede a.k.a 6 Stakks in the hood has the gift of making/writing music for all genres. With the co-sign from super known names such as Jermaine Dupri and Clive Davis this free agent is not only the Realist R&B artist…. PERIOD, but he is destined for success in the industry with or without approval.. This is what an unbridled passion to succeed sounds like.. NOW LISTEN!!!

GLOK: Expanding beyond the normal (and shining light on the slept on state).. Time to do it South Cak -a-lac style once again.. Got the homie Black Suede in the studio with me.. How you feeling today fam?

BLACK SUEDE: I’m Chillin’… Chillin’… doing’ good.

GLOK: Who is Black Suede, and how would you describe what you do?

BLACK SUEDE: Black Suede is a way of life.. A brand (if you will). What some artists fail to understand while coming up in the game is that your name is just as much of a product as you are. Therefore, you should treat it as such.. You know.. I’m here to make good music and a difference in the lives of others and the world around us.

GLOK: You have a very timeless sound and style.. A mixture of smooth R&B, Pop, Hip-Hop, (and many other Top-40 genres)… When did you realize that real musicians don’t limit themselves?.. and is it possible for you to pick a favorite genre of music?

BLACK SUEDE: Well I want to start by saying’ that there’s no such thing as “White music” and “Black music”.. It’s all the same to me. I primarily focus on R&B, but at the same time, I am a Music producer, so, in order to be successful, I have to be able to make beats for many types of artists from all genres. In the process, I think, I’ve become one of the most marketable musicians out there. And As you would probably assume, I have no true favorite genre.. Good music is Good music.. Right now, I mainly listen to Hip-Hop and R&B.

GLOK: How did you get your name?

BLACK SUEDE: The name Black Suede was something that I came up with. Being that I am laid back and smooth.. Just like Suede..lol. Black because I’m a dark-skinned dude.. In case you can’t tell..lol. But I’ve always embraced that.. and That’s why all the shawties kick it with me on Saturdays (lol).. As far as my Hood name…(6 stakks).. lol.. Well, my homies used to always tease me on the fact that I drove a Pontiac 6000 LE…, so they just started calling’ me 6 stakks (and yea I still have that car to this date).

GLOK: Can you remember back to when you first discovered Hip-Hop?

BLACK SUEDE: I used to listen to a lot of Hip-Hop growing up, but I didn’t really know what it was until I got a little older. When I heard Pac, Biggie, and Jay I knew that this genre was here to stay.

GLOK: I always give artists the chance to reflect on what they have been through (the good, the bad, and the ugly) to get where they are today.. Let’s touch on Suede’s journey for a moment.. What was life like for you growing up in Rock Hill (shout out to Cran Neely) & Columbia , South Carolina ?

BLACK SUEDE: You know growing up in Columbia was pretty rough. My moms was a single mother, but she made sure that me and my brothas and sistas had what we needed. We didn’t have much, but I can honestly say that I’ve come from “Nothin’ to Somethin’” (Shots out to Loso).. I’m not ashamed of where I’ve come from, and the hardships that I’ve had to overcome.. That’ll just mean that my autobiographical movie will be that much more interesting (lol).

GLOK: So this Hustler’s Mentality that you’ve applied to moving your music and that you say you will “always have”.. Does that come from you being in the game (on the block gettin it in or whatever)?.. or is this just how you roll when it comes to achieving what you want?

BLACK SUEDE: A little of both. Those who hear me talk and interact wouldn’t know that I used to spend countless hours out there on the streets…They would have to ask me about it.. You know, when it comes down to it, I’m proud of where I’ve been, because without that background.. I wouldn’t have my thoroughness and Hustler’s instinct.. So yeah, I’m all of the above.

GLOK: What are your views on the South Carolina Hip-Hop/Music scene at the moment?

BLACK SUEDE: Right now, I think that some individuals in South Carolina are too focused on the local level.. I mean.. We have some talent down here, but a lot of them don’t get discovered because they either, lack motivation or the know-how.. I, on the other hand, have made it my business to learn my business. That is.. I’ve read countless books and listened to many entertainment lawyers in order to get a grasp of how the industry really works.. It’s not enough anymore to only have a good creative side.. You have to also understand where your money’s going’.. ya know?!?

GLOK: Who would you say are your musical influences, and why?

BLACK SUEDE: Definitely I’d have to say Akon and T-Pain right now.. They’ve done so much for the industry in the little time that they’ve been here.. I think they’re musical geniuses.. For them to be able to combine R&B and Hip-Hop the way they do definitely excites me about my craft.. So when I make my music.. I compare it to theirs to see if it would hit in the market.

GLOK: You’re in college now (Business and Finance Major) correct?.. Do you promote higher learning (unlike most artists these days)?

BLACK SUEDE: I obviously think that a College education is recommended, but not required.. I mean, there are countless artists who have been very successful without a degree.. I’m in College because after my years as an artist, I still want to be wealthy, therefore I feel that College is right for me.

GLOK: Do you still ghostwrite for other artists?

BLACK SUEDE: Occasionally, I do.. (but) I wouldn’t be a ghostwriter if I told you who I’ve written for.. lol.. but real talk, I’m a serious songwriter.. I pride myself on being able to put words together so well.

GLOK: What do you love most about South Carolina ?

BLACK SUEDE: Let me see (hmmm).. We don’t have any professional teams, and our College teams ****.. lol.. We don’t have much excitement going’ on out here.. I will say that it’s good to see all of the historical monuments and artifacts from the war and stuff.. Overall, Yeah South Carolina is really laid back (it fits my personality).

GLOK: With the major label system going down quicker than a Vegas hooker a lot of people believe this is a great time for indie artists.. What do you think?

BLACK SUEDE: (lol).. I think so, however, I’m almost certain that the majors have something up their sleeves to continue operating in the music industry.. Example, they’re using the 360 deal to get a portion of their artist’s earnings outside of the music industry.. Eventually, bye and bye, the music industry (as we know it) WILL become obsolete.. But the MUSIC will still continue.

GLOK: You have been selling your own music/product out of your trunk since 2007.. How many units or CD’s have you personally moved as an unsigned artist?

BLACK SUEDE: Aww man.. That’s a good one.. ummm.. I don’t have an exact number, but I’d say around a couple thousand CD’s (give or take a few hundred).. I must say at $10 a pop, that ain’t doing’ too bad ya feel me.

GLOK: The major label system will NEVER be the same and produce those major dollars and deals because the indie artists got tired of begging for a deal and getting rejected.. Indie artists are smarter now, and technology has provided the tools to create your OWN label, buzz, $, etc.

BLACK SUEDE: The Hip-Hop/music industry, as a whole, is moving away from the record sales, and into an iTunes era.. Fortunately though, there are avenues for indie artists to make a decent living without the major label backing.. Many artists are signing on with KOCH Records, which allows them to retain most of their album revenues. (They split 50/50).. The bottom line is that If you truly want success…you’ll stop at nothing to obtain it (str8 up).

GLOK: What’s your favorite Gangster Movie?

BLACK SUEDE: Aww man.. If I don’t say SCARFACE (what kind of G would I be?).. lol.. A modern day movie that I’m diggin’ is AMERICAN GANGSTER.. I’ve seen it like a hundred times, and I can recite all of Frank’s lines (verbatim).. So yea that’s another favorite.

GLOK: Obama will need the spirits of MLK, Kennedy, FDR and Lincoln, as well as a patient public to fulfill his vision of CHANGE.. Do you think people fully understand that if we don’t “unite as one” Obama’s win will somewhat be fruitless?

BLACK SUEDE: I don’t think that we truly understand that concept.. Obama winning the Presidency shows how far we’ve come as a nation, but we still have a lot of growing to do.. Discrimination still looms in the cities and a lot of things have been said, which lets me know that everyone isn’t on the same page.. If we all don’t set aside our differences and unite, we can’t truly progress as a nation.

GLOK Fight Cards: Who do you think would win in a 5 round UFC match between Pimpin Curly (a.k.a 50 Cent) and Officer Ross (a.k.a Rick Ross)?.. Lil Ike (a.k.a Chris Brown) -vs- Trey Songz?

BLACK SUEDE: Ha ha ha, aww man.. In the UFC, I’ma have to give it to 50.. But I’m willing to bet money that Ross gone have the Chopper waiting for 50 before he leaves the arena (lol).. As for Chris Brown and Trey Seezy?!?.. I think I’ma give it to Trey.. He seems like he got that hood in him.

GLOK: It always excites me to see new faces/voices get the approval from well known industry names.. You have been commended and acknowledged by music industry heavyweights such as: Keith Sweat, Clive Davis (J Records), Jermaine Dupri (So So Def), just to name a few.. What has been your greatest accomplishment so far?.. and have these industry all-stars presented you with any good deals or offers yet?

BLACK SUEDE: I’ve been recognized by numerous individuals (in and outside the music industry), but I have to say that my greatest accomplishments so far have to be random people walking up to me and asking, “I know you.. You’re Black Suede!”.. That means more to me than anything else. I’ve gotten a lot of looks from a number of labels (majors and Indies ), but I haven’t seen the right package yet. I’m not looking for a huge advance, I just want an opportunity for longevity in the long run.

GLOK: You have produced for some high level artists also.. Can you do a little name dropping for us?

BLACK SUEDE: Well I’ve produced for Nova Soprano’s mix tape.. He’s represented by G-Unit West (you know.. Spider Loc and the boys).. Another off the top of my head Is Urban Heat/Universal. They have an up and coming teenage pop artist that they needed songs for, so you know I was all in. These are just a couple, but I produced so many beats for so many people (signed and unsigned) that I literally lose track of them.. I guess pretty soon, I’ll need a discography huh (lol)?

GLOK: Black Suede aka 6 Stakks aka The Legitimate Superstar (nuff said).. For those that don’t already know check him out at www.myspace.com/6stacksblacksuede to have a private listening session and purchase some GOOD MUSIC.. Keep making major moves brother and Thanks for the cigar.

BLACK SUEDE: You already know.. Thanks for having me.



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Popkomm, Iefta, Mipcom, Moffom, Cmj, Smpte, Highlight October’s Media and Entertainment Industry Career Networking Events

December 11th, 2009
actorschecklist.com asked:


Billboard hosts its Regional Mexican Music Summit, through October 8 in Los Angeles, where regional artists, concert promoters, retailers, sponsors, managers as well as record label, digital/mobile entertainment, marketing, advertising and radio executives come together to network, do business and discuss current industry topics. At the EkoFilm International Film Festival on the Environment and Natural and Cultural Heritage, the aim of the festival is to present new films and video programmes that reshape our perception of the environment through natural and cultural heritage in a local or global fashion. The Festival runs in Prague, October 6-12. Kimberly Graham, an associate at Judy Henderson Casting, conducts a limited group casting workshop in New York, on October 7. At Berlin’s PopKomm, expo goers can take part in an international music and entertainment business conference, focused on creation, communication and commerce, and with more than 400 solo artists, bands and DJs playing in over 25 official locations, all happening October 8-10. Monte Carlo will host the International Emerging Talent Film Festival, October 9-12, an event run by the International Emerging Film Talent Association (IEFTA), a not-for-profit organization based in Monaco.

A Model/Actor Boot Camp with Aaron Marcus, will cover: preparing for auditions and casting calls; understand the differences between agents, managers, art/creative directors and casting directors; using special techniques for TV, film and commercial auditions/go-sees; accurately managing and understanding the business side of the industry; helping your agent by marketing yourself, and more. MIPCOM is the global content event for creating, co-producing, buying, selling, financing and distributing entertainment content across all platforms. This year when it is held in Cannes from October 13-17, it features a series of specialised networking breakfasts designed with the intent of creating a unique forum around some of the challenges facing the industry today. At this year’s ShowEast, happening October 13-16 in Orlando, just some of the activities you can preview are major studio and independent feature films slated for Holiday 2008 release, product reels of upcoming releases, visit a comprehensive trade show of motion picture industry products, services and concession items, networking, and actually much more. The music industry operates under quite different conditions than the film industry, just as music festivals and film festivals do, and so MOFFOM was founded to build synergy between these two worlds. And so from October 16-20 in Prague, Music on Film, Film on Music will be conducted from Prague with a rich assortment of live music and film events.

The 43rd Chicago International Film Festival last year, was dedicated to distinguished film critic Roger Ebert. At this year’s opening night presentation, join director Rian Johnson and actress Rachel Weisz, for ‘The Brothers Bloom’, and a Perspectives Tribute October 18 honoring Sidney Poitier. The Connective Series in New York educates emerging artists, musicians and music business professionals, serves as a networking opportunity and helps raise awareness and funds for charity,  and on October 21 they review “How International Bands Can Break in the US Market”. From October 21-25, CMJ Music Marathon & Film Festival gets underway, with most of its activities clustered within the New York University area of Greenwich Village, day and night. The Florida Media Market, October 23-26 in Miami Beach, is a non-profit membership-based organization whose goal is to build a platform where independent film and media makers meet with international buyers, distributors and production companies to buy, sell and network. SMPTE 2008, the annual event for technology, production and operations in the motion imaging industry attended by professionals in the motion picture studios, broadcast and cable networks, production and post-production community and related industries, gets underway October 28 for three days in Hollywood.

The above events are only a sample of what is fully listed. Complete details are on the “Media, Entertainment and Performing Arts Industry News and Events” page. Video and podcast versions of this news summary are also available at popular video sites around the Web like MySpace, YouTube, Bit Torrent, as well as on The Actor’s Checklist podcast blog, a great place to get your iPhone, ipod or Apple TV download from. The Free Home Video Showcase serves as an archive for all past video presentations. This month on video you will see trailers and sample clips of Black-Smith Enterprises’  recent release of new feature, ‘Till Death…’  Surreal indie short by Marco Sanchez, ‘Emily in Nightmare Land’. Community generated zombie documentary, ‘Lost Zombies’. Horror genre short, ‘Creepers’, making the festival circuit, and slated for screenings in The Terror Film Festival, October 23, and The Severed Head Horror Film Festival, October 31.



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Tips For Finding Jobs In Music In Your Hometown

December 10th, 2009
Paul Shellem asked:


Even if you live in a small town in the middle of nowhere, it still may be possible to find jobs in music and not have to move out of your home. Some people have a hard time being creative and doing research on the best places for jobs in music. If you live in a small town or just think that there are no jobs in music where you live, here are some ideas to get you started.

Check your phone book or the local yellow pages for the nearest big city. If it is only a half hour to an hour away, it may be of your interest to find a job in the music industry there. It may be a long commute, but if you really have a passion for music, you will do it. Also, some music jobs can be worked from home some days of the week as this may be an option as well for you. Look up different music industry places such as recording studios, theaters, record labels, music stores, and advertising and public relation agencies that deal with music and entertainment. The type of job that you pursue depends on what you want to do in music.

Your little town or suburb may be bigger than you think when it comes to jobs in music. Is there a local bar or pub that frequent books live entertainment? Could they use a booking agent or can you talk to some of the local bands that play there to be their representative or agent? Do you have a local theater that puts on plays or musicals? What about your local high school: do they need a choir, orchestra or theater instructor?

Finding jobs in music is possible in just about any place; you just have to know where to look and get creative. You also have to learn how to sell yourself and you may just be making up your own job in the music industry in your hometown.

For More Details Visit: http://www.careersinmusichelp.com/



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Music Industry Careers That Fit Your Talents

December 10th, 2009
gregory van duyse asked:


t or not, there are hundreds of different music industry careers to choose from. So, how do you know which one you should pursue? The best way to find the best career in the music industry for you is to learn about the many different career choices that are in front of you. Do you love to sing? Do you love to be in front of an audience and perform? Or maybe you can play the guitar or drums like no other. Whatever musical talent that you have, you should definitely pursue it if that is what you want to do in life. There are several career choices for a singer, such as a background singer, a musical theater actor or actress, an opera singer, or a jingle singer. If you are unable to make it as a main act singer or band member, then you can pursue some of these other entertainment jobs to show off your talents. On the other hand, maybe you can’t sing a note or play any instrument, but you love music. There are plenty of music industry careers that have nothing to do with performing or musical talent. Maybe you are awesome at marketing or public relations. You can easily pursue a career at a record label or entertainment advertising agency. You could even go the independent route and get your own clients as a personal agent. Everybody has different talents. Some people are musically inclined and are natural performers, while others may be great at technical things like sound recordings. The key to success in the music industry is to use your talents to your advantage and find the best suited job for you. The music industry has tons of careers to offer, if you are willing to put in time and dedication, then there is a career for you.

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Guide to Booking Entertainment

December 9th, 2009
daniel morris asked:


“Initial fears that people have with planning the music and entertainment for their event are reasonable, as it is an integral part of the event and can even be part of the main focus. There are many factors to consider when planning your entertainment, not only whether the act you are booking for your event will suitably entertain your guests, or fit within your budget or them;, but you also need to consider whether they will be reliable and professional. In the worst case scenario we have heard of cases where artists have failed to turn up on time or cancelled without giving enough time to book another act in their place. Even if they do arrive, how do you know that they are going to be as good as their demo or showreel? And this is all on top of the rest of the event planning process of organizing catering, a venue or conference facility, florists, guest invitations, transportation, accommodation… need I go on? It can be a very daunting task.”

With this in mind, here are the key elements to think about to help get you started:

The Venue

When booking the venue it is important to check that they have the appropriate entertainment licence and the conditions of their licence including the type of entertainment they are allowed (some venues are not permitted to have amplified music), finishing/get out times, performance area size/space restrictions, if they have any noise restrictions (such as sound limiters), access times for the band/artist, power supply etc.

If you are considering a speciality act that uses fire or pyrotechnics, you also need to make sure that this is permitted in the venue.

These points are always good to know early on as this may dictate the kind of entertainment you can look for. For example, some venues have sound limiters that cut out sound automatically when it goes over a certain volume, so if you have booked a band, this can damage their equipment and most importantly can disrupt the whole evening.

However, all is not lost, even with a limitation on sound, there are still many acts that can be employed such as acoustic artists, but knowing this in advance will help you narrrow your search or review your venue.

Band Hunting

So you know have an idea of the kind of act your venue will accommodate, lets go and look for your entertainment.

Armed with the information acquired from the venue you can now approach the artists, but where do you look? Well, there are a few options available to you:

Option 1 - Search the internet. You can do a search for a certain type of artist/ band, listen to their website demos or watch their showreel and contact the artist directly. Although many artists have their own website, a great website does not necessarily mean a great artist. So not only can this method be quite simply mind numbing and time consuming, it is also a bit of a lottery if you are booking an artist you have never heard of.

Option 2 - Go on recommendation. This can narrow down your search quite fast, but do remember that colleagues may not have the same tastes and what one person may think is great might not be ideal for the guests attending your event.

Option 3 - Go to an agent. There are lots of agencies out there, (I should know, I am own one of them.) Obviously there is going to be a fee increase for this service, (normally between 15- 20 % ) but, if the agency is a reputable one they should be able to earn their commission by verifying the acts and their ability, negotiating their fee to meet your budget, contracting the artist (more on that later) and communicating to the artist exactly what you need.

A note on professionalism. Many people place an importance on the performance but it is important not to overlook the other elements involved with booking an act/band for example, the way they conduct themselves both on and off stage, their dress code and also making sure they turn up in plenty of time etc.

Things to ask the band/act

Whether you are going through an agent or directly to the artist, the questions are still the same.

Here is important information you need to know about the artist:

Availability:

You must first check that the artist is available on the date of your event and that they are happy to travel to the event location.

How long will the artist perform for:

Performance times will vary depending on the kind of act you are booking and the event you are holding.

There are so many different possibilities depending on your requirements, but to give you an example, a typical live performance by a function band would be something like the following:

2 x 1 hour live sets (I like to include CD music in between and up to 45 mins after the performance)

Or

3 x 45 mins live sets (again with the bands would be quite happy to provide CD music in the price)

Act/Band styles

Some artists are available as a ‘walkabout’ act as well as a stage act and some bands can perform as an acoustic duo or trio, as well as a full party band.

If you have a larger event then you may wish to have a reception performer when the guests arrive or are eating lunch/dinner. This could be a walkabout act, close-up magician or acoustic duo or trio band.

We have supplied many events with walkabout Mexican Mariachi bands, acoustic Hawaiian trio band, close-up magicians, human statues and Gypsy jazz musicians. It’s an upbeat and fun start to the evening before the main act, as well as a brilliant ice-breaker if your guests don’t know each other.

The latter part of the event can then incorporate a stage show or band for dancing, either using an artist from earlier or a different artist altogether.

Repertoire:

If you are booking a band, you should be able to get a sample set list from the band. I generally advise my clients to let the artist gauge the event as to what songs are played but within your initial enquiries it gives you a great idea of what they can do.

Fees:

Once the artist has all your requirements, they will then be able to quote you formally.

The fee you are quoted will be dependent on the location of the event, the performance you require, what day of the week your event is being held and the time of year your event is being held.

Barter!!

Don’t be afraid to barter, most artists/agents are happy to negotiate their fee, as every event is different.

The Booking

Let us assume you have narrowed down a selection of acts, what next?

If you have decided on the artist you wish to book, but you need to get the go ahead from your MD or person paying for the event, it would be recommended to ask the band to hold that date for you.

Most artists will be happy to pencil in a date for you if you require time to make a firm decision about booking. This ensures that they won’t take another booking while you’re in the decision making process.

Deposits and contracts

Any reputable band or artist will insist on a contract to be signed by all parties once you confirm your booking. This should include all of the information that both sides have agreed to.

More often than not, the contract will also include a requirement for you, as the client, to provide refreshments and lockable changing facilities/dressing room for the artist during their time spent at your event.

You may also be sent an artist rider with the contract which is a list of artist requirements that you will be expected to provide as a courtesy.

Things to confirm within the contract:

Artist Name (making sure that the performers are the same ones as the demo/showreel!)

Location for the artist to appear

Date of performance

Time for arrival and set up of the artist

Performance times

Fee and payment terms (i.e deposits and payment due dates)

Artist contact number

Cancellation terms

Any special requirements regarding the performance/venue/guests or artist rider

As soon as you have signed and returned the contract and paid your deposit, your booking is confirmed.

The artist should be able to contact you a week before the performance to confirm any changes that you might have and you can rest assured that you have done all you can to make your event a night to remember.

 

 

 



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Tips For Obtaining Jobs In Music Industry

December 8th, 2009
Paul Shellem asked:


If you are having a rough time finding jobs in music industry, then here are some helpful hints for you to remember.

Get involved in the music industry, even if it that means you volunteer your services at first. The music industry is not the easiest workplace to get started in, so you may have to take unpaid internships or volunteer your time at musical events to get your foot in the door. If you do get your foot in the door somewhere, be sure to make friends with everybody you can. You never know what contacts you make can potentially lead to one of your dream jobs in music industry.

Be knowledgeable about the different places in your area that you can potentially get a music job at. This means make a list of all the recording studios, record labels, theaters, choirs, concert venues, bars, and any other place or company that deals with music. This can help you to keep track of potential jobs when they arise and also help you to follow events that may be going on with these places. You never know if open mic night at your local bar may lead to your becoming a personal agent for an up and coming band in your area.

Don’t give up so easily. If you really need to pay your bills, then don’t be afraid to get a job outside of the music industry, but just don’t give up on the music job scene. Working outside the music industry may even provide you with some work experience that may help you potentially land one of the great jobs in music industry that you always wanted. Continue to pursue your dreams while working to pay your bills.

For More Details Visit: http://www.music-career-help.com/



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Kussu Music Publishing Announces Licensing Agreement With Harry Fox Agency

December 8th, 2009
Eric de Fontenay asked:




Kussu Music Publishing, a leading independent company with catalogues of songwriters, composers and producers from all around the world, announced that it has entered into a licensing and collection agreement for the US territory with Harry Fox Agency.

Harry Fox Agency will issue mechanical license and collect mechanical royalties in the US on behalf of Kussu Music Publishing and its affiliated publishers. HFA is a leading organization in the US with an extensive knowledge of the music publishing landscape and tremendous ability of supporting business on any scale, said Didier Kussu, President and Founder, Kussu Productions Inc.

About Kussu Music Publishing

Kussu Music Publishing was founded in 1994 as a publishing arm of Kussu Productions Inc., a music content company with global businesses in music publishing and recorded music, including artist development, management and music library as specialties.

About Harry Fox Agency

Established in 1927 by the National Music Publishers? Association, HFA represents over 37,000 music publishers for their licensing needs in the United States, issuing licenses and collecting and distributing the associated royalties. In addition to being the premier mechanical licensing agent in the U.S., which includes CDs, ringtones, digital downloads, interactive streams, limited downloads and more, HFA is dedicated to finding new ways for its affiliated publishers to recognize value for their catalogs, including lyrics and tablature. Further, HFA provides collection and monitoring services to its publisher clients for music distributed and sold in over 100 territories around the world.

For further questions, please contact:

Email: licensing (at) kussu.net

Website: http://www.kussu.net



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10 Essential Tips To Become A Backup Dancer

December 8th, 2009
Ryan Heddik asked:


To become a backup dancer is a field with a lot of competition. The thing is most people aren’t aware of what it takes to become a backup dancer.

The tips below will show you what it takes to be a backup dancer for music artists and bands. It shows you the skills that will help you from the initial stages of auditioning through to actually getting booked for the job. Follow these tips and be ahead of the pack.

1. Talent: That’s right talent is one of the most important things. Spend all the time you can perfecting your skills, going to dance classes and be the best you can. It’ll help you!

2. Belief: No dancer achieved great success without believing in their talent. Believing in yourself whether you’ve been praised or just turned down for 5 auditions in a row.

3. Persistence: A lot of dancers will leave the race for backup dancer jobs because they’re not tough enough to be rejected so many times. It takes persistence because directors are always looking for different things on different jobs.

4. Image: Image is not a skill but creating a ’sellable image’ for yourself is. Your image needs to look good whatever it is, and something that people can look at and say ‘Yes I could see that dancer in this video.’

5. Dedication: Dedication is needed to keep up practise whether times are thick or thin.

6. Stamina: Music videos can be long days. You can be filming from early in the morning till late at night. Days of 12 hours or more aren’t uncommon. The plus side is you’ll usually be well paid.

7. Patience: There can be a lot of waiting around any time you are filming whether it is a film, television show or music video. It takes patience because naturally as a dancer you want to be dancing. Often waiting around can take it out of you more than actually dancing itself.

8. Professionalism: Getting on with the job at hand with minimal fuss. Dancers that bicker or complain a lot aren’t fun for the crew or artist involved to have around.

9. Personality: A likeable personality or natural charm can work wonders. Some people can just seem to get on with everyone and are always great fun to have around. Not surprisingly they get booked often.

10. Good contact: Staying in touch with agents, returning phone calls about jobs and rehearsals, being easy to get in contact with. This makes it easier to get booked and much simpler for the people who you’re working with.



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Copyright & Music Piracy

December 7th, 2009
Reema Patil asked:


The principle that the work one has created belongs to the creator and should be controlled by them is a global concept. This principle is encoded in Copyright law. Copyright Law is the key element upon which intellectual property rights are created and it is from these property rights that musicians, composers, artists and authors derive their income. The U.S. Constitution Art. I Sec. 8 Cl. 8, lays the foundation of Copyright law by providing that “The Congress shall have Power… to Promote the Progress of Science and the useful Arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.” As a copyright owner, an author would have certain exclusive rights over his works such as the Reproduction right (the right to make copies), the Adaptation right (the right to adapt the work into new works – such as translation of the work into a different language), the Public Distribution right (right to distribute copies of the work to the public), the Public Performance right (right to perform the work publicly – such as reciting the novel to the public) and the Public Display right (the right to display copies of the work in public). Copyright law thus prohibits the unauthorized duplication, adaptation or distribution of a creative work.

The Copyright statute does not define the tem “musical work.” A musical work is understood to comprise of both the music and the words that accompany it. All genres of music are covered by the term musical work. A musical work is different from a sound recording. The difference lies in the fact that a musician who composes music or writes a song is the author of a musical work, while a producer who records some sounds creates a sound recording.

The term Piracy is used to describe the deliberate infringement of a copyright on a commercial scale. Music Piracy refers to the illegal duplication and distribution of sound recordings. It mainly comprises of four specific forms – (i) bootleg recordings, (ii) pirate recordings, (iii) online piracy and (iv) counterfeit recordings. Bootleg recordings refers to the duplication, recording, and sale of a performance such as a live concert or broadcast without the permission of the artist or the Record Company which may be entitled to control the recording rights of the artist’s performances. Pirate recordings refer to the unauthorized duplications of music from legitimate recordings for commercial gain. The packing and presentation of a pirate copy does not usually resemble a legitimate commercial release. Online piracy refers to the unauthorized transfer of sound recordings from Internet sites. Counterfeit recordings are the unauthorized copying of the sound as well as the artwork, trademark, label and packaging of the original recording. The main aim of counterfeit products is to mislead the consumer into thinking that they are buying the genuine product.

The U.S. Recording Industry is represented by the Recording Industry Association of America (RIAA). With a mission to foster a business and a legal climate to support and promote its members’ creative and financial vitality, the RIAA members create, manufacture and/or distribute approximately 85% of all legitimate recordings produced and sold in the United States. The RIAA is working to protect the intellectual property rights and First Amendment Rights of artists, conduct consumer, industry and technical research; and monitor and review state and federal laws, regulations and policies. One of the primary objectives of the RIAA is educating people about music piracy. The RIAA states in simple words that going online and downloading music without permission is as good as walking into a store and shoplifting. A report published by the Institute of Policy Innovation provides that global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers’ earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. Considering the amount of loss that the music industry faces mainly because of piracy, one might wonder whether there is a provision to get access to one’s favorite songs without being held liable for piracy. The answer is “YES!”  Legal downloading of music is extremely easy and cost effective. The RIAA states that record companies have licensed hundreds of digital partners offering download and subscription services, cable and satellite radio services, Internet radio webcasting, legitimate peer-to-peer or P2P services, social networking services, video-on demand, podcasts, CD kiosks and digital jukeboxes, mobile products such as ringbacks, ringtunes, wallpapers, audio and video downloads. The International Federation of the Phonographic Industry or the IFPI which represents the recording industry worldwide states that there are more than 10 million licensed tracks available on more than 400 services worldwide. The IFPI represents 1400 members across 72 countries and has affiliated industry representations in about 44 countries. The IFPI reports that about 40 billion files were illegally file-shared in the year 2008 giving a piracy rate of about 95%.

What happens when a composer or owner of a sound recording finds out that his work is being reproduced digitally without his permission?

The Digital Millennium Copyright Act of 1998 or the DMCA as it is popularly known provides the answer to this question which probably haunts most of the artists today. The Internet, which is providing a gateway of access to almost anything that seems to be created, is posing a threat to the artists who find their works being “uploaded” or “downloaded” without their permission. This invariably infringes the exclusive rights provided by the Copyright Act which was enacted to protect the interests of the artists. The DMCA has enacted § 512 (c) which is more popularly known as the Safe Harbor Provision which provides a method by which an online service provider can limit his liability for vicarious infringement for illegal infringing copyrighted works stored on his system by the website’s subscribers. §512 (c) takes birth from the district court decision in Religious Technology Center v. Netcom On-Line Communication Services, 907 F.Supp. 1361 (N.D. Cal. 1995), which refused to hold an ISP liable for the infringing activities of its users because the ISP’s role consisted entirely of serving as a passive conduit for the transmissions of its users, without in any way inducing, influencing, encouraging or selecting among their infringing activities. For an online service provider to be eligible for protection under the Safe Harbor provision, he can appoint an agent with the Copyright Office. If an owner believes that his copyright is being infringed, he can send a notice to the online service provider. Once such a notice is received, the online service provider must either remove and/or disable access to the allegedly infringing material. After receiving the online service provider’s notice, the subscriber can send a counter notification. If the subscriber fails to respond to such a notice, the infringing content remains disabled or removed. If the subscriber provides a notification, this will be conveyed to the copyright owner. Litigation is initiated by the copyright owner against the alleged infringer and a notice to this effect should be sent to the online service provider. If no such action is taken by the copyright owner after receiving the counter notice, the online service provider must repost the disable or removed material within 2 weeks of its receipt of the counter notification from the subscriber. If litigation is initiated by the copyright owner, the online service provider must remove or disable the infringing material until it is resolved by the court.

Whom does the law hold responsible?

According to 17 U.S.C §501(a) ( c ) of the Copyright Act, copyright infringement occurs when a party engages in importing copies or phonorecords into the United States in violation of §602. Secondary Liability for copyright infringement is also enforced although it is not expressly recognized in the Statute. Secondary Liability occurs in the following two forms – Contributory and Vicarious Liability. Under Secondary Liability, the defendant can be found liable for copyright infringement even though he did not personally engage in the infringing activity. However, to enforce an action under secondary liability, an underlying act of direct infringement must occur. Contributory infringement is designed to target intentional contributions to infringement. Two key elements that pave the way for contributory infringement are (a) knowledge of the infringement and (b) continued substantial and material provision of means. The concept of contributory liability for copyright infringement was laid down in Gershwin Publishing Corp. v. Columbia Artists Management, Inc., 443 F.2d 1159, 1162 (2d Cir. 1971). The court expressly held that “One who, with knowledge of the infringing activity, induces, causes or materially contributes to the infringing conduct of another, may be held liable as a ‘contributory’ infringer.” Id. A video rental store which permitted its customers to view its videos in the store was held to be contributorily liable for those infringing performances. Columbia Pictures Indus., Inc. v. Aveco, Inc., 88 F.2d 59 (3d Cir. 1986).

Vicarious liability is based on the principle of respondeat superior – where employers are held vicariously liable for infringing acts performed by their employees who are acting within the scope of their employment. Vicarious infringement is designed to target intentional contributions to infringement provision of means. Vicarious infringement requires two key factors – (a) ability and right to control infringing conduct and (b) receipt of financial benefit from the conduct. The court in Fonavisa, Inc. v. Cherry Auction, Inc., 76 F. 3d 259 (9th Cir. 1996), held that a flea market operator was vicariously liable for copyright infringement because he had knowledge of the fact that vendors were selling counterfeit recordings and supplied them with space, customers, advertising and support services in return for a fee. However, courts have refused to impose vicarious liability on a landlord/tenant relationship. The main reason cited for such a refusal is that the landlord lacks the right and the ability to supervise the tenant’s infringing activities.

How does one identify whether a CD is genuine or a pirated copy?

There are certain features of a CD that clearly indicate that it is a pirated copy. One should keep a lookout for any or all of the following points to determine whether a CD is genuine or not –

How much are you paying? – Pirated CDs are generally sold at a price much lower than the actual retail value. Where are you buying it from? – CDs bought at a flea market or a swap meet or sold on the street are more likely to be infringing copies of the original What are the features of the CD? – Pirated CDs are sometimes enclosed in a poor quality cellophane envelope as opposed to the upscale factory quality of shrink wrap. They are recorded on Recordable Compact Disks, or CD-Rs which are characterized by bluish or a greenish tint. You may also find misspelled words on the cover of the CD. Usually, pirated CDs contain the “top 10 hits” or “mix” or “DJ” recordings. The bar code too may be missing on the package.

Stop piracy in your own way by refusing to purchase pirated CDs.







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Tips For Obtaining Jobs In Music Industry

December 6th, 2009
gregory van duyse asked:


e having a rough time finding jobs in music industry, then here are some helpful hints for you to remember. Get involved in the music industry, even if it that means you volunteer your services at first. The music industry is not the easiest workplace to get started in, so you may have to take unpaid internships or volunteer your time at musical events to get your foot in the door. If you do get your foot in the door somewhere, be sure to make friends with everybody you can. You never know what contacts you make can potentially lead to one of your dream jobs in music industry. Be knowledgeable about the different places in your area that you can potentially get a music job at. This means make a list of all the recording studios, record labels, theaters, choirs, concert venues, bars, and any other place or company that deals with music. This can help you to keep track of potential jobs when they arise and also help you to follow events that may be going on with these places. You never know if open mic night at your local bar may lead to your becoming a personal agent for an up and coming band in your area. Don’t give up so easily. If you really need to pay your bills, then don’t be afraid to get a job outside of the music industry, but just don’t give up on the music job scene. Working outside the music industry may even provide you with some work experience that may help you potentially land one of the great jobs in music industry that you always wanted. Continue to pursue your dreams while working to pay your bills. Be knowledgeable about the different places in your area that you can potentially get a music job at. This means make a list of all the recording studios, record labels, theaters, choirs, concert venues, bars, and any other place or company that deals with music. This can help you to keep track of potential jobs when they arise and also help you to follow events that may be going on with these places. You never know if open mic night at your local bar may lead to your becoming a personal agent for an up and coming band in your area.

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