2009 is coming to an end – and we cannot change anything that's happened in the past. Good or bad, it’s done and gone…

But we CAN help make sure that 2010 fulfills our fondest wishes and dreams. We are also lucky enough that this New Year also presents us with a Brand New Decade to conquer, a special opportunity to make our mark in the world in whatever we decide to do, both with our lives and our careers…

One of "Pooch's Laws":

"Making It" Consists Of: 1/3 Talent, 1/3 Luck, And 1/3rd Persistence.

You Can Make Your Own Luck By Being Persistent!
The odds are more and more in your favor the more persistent you are. If you are persistent, there's a much better chance you'll be in the right place at the right time - which is what luck is!

Here's Wishing You a Grrrrrreat Holiday Season PLUS a Grrrrrrreat, Happy & Successful Year Ahead!

I'm always here for you...

PP



David J. Spangenberg
~Professor Pooch~
Music Biz Guidance
Education & Direction
Complete Contract Services



Your Music Business Resource Center

Email: Pooch@professorpooch.com

Since so many people have asked what I actually do in the music industry and how I may be able to help them, I thought I’d first give you a glimpse into my background and what makes me tick, and then explain how I may be able to help you and others not only get in the door, but safely up the stairs and into a business I’ve been in full-time for over 30 years…

My Background:

A Violinist at age 8 [I sucked, but I learned a lot about music, itself], a Guitarist at 13, a Performer, Arranger and Producer by 18, I’ve always been interested in Music and the Music Industry. I received my first Professional break at 16 when I met Producer Jimmy Ienner [3 Dog Night, The Raspberries, Eric Carmen, etc.] when he heard a group I was working with. Meanwhile, a song I wrote with another writer for another Artist was coming out on a Major Label - without my name on it! At that point I decided I better step back and learn and experience the Business and Legal Side of The Music Business as well doing this Artist thing!

To make a very long story very short, while given the "star treatment" as a Singer-songwriter with a couple of major record producers of the time, Jimmy Ienner, and Gene McDaniels [Roberta Flack, Gladys Knight, etc.], I picked up everything I could from my music business surroundings, working in and around Studios, Publishing, Management and Recording Companies, etc..

Starting in the late ‘70's, many frustrated creative and business oriented individuals and companies started coming to me asking for help regarding their careers. I realized how much I really enjoyed helping people, and I soon found myself guiding other people's careers.

In 1991 I was asked to develop and teach the "Artist Management", "Songwriting/Music Publishing", and "Entertainment Law" Courses at the "Art Institute of Philadelphia" in the various Music Business Departments. It was there, that I really realized how much I loved sharing my knowledge and experience, as well as writing about the Music Biz.

Around 2004, with a big help from the Internet, I was able to fully come out from behind-the-scenes. Now, instead of trying to get professional Musicians, Artists, Managers, etc., OUT of messes, I could now help prevent a lot of people from getting INTO messes in the first place. I could therefore help them save a lot of wasted time, money and energy going in the wrong direction, and could help prevent them from getting ripped off…

What do I do:

Picture having a Personal Music Business Manager - without ever signing a contract with that Manager! A “Manager” who can answer any and all of your questions in simple, down-to-earth language, as well as guide your career in whichever direction you choose, whether you are on the business and/or creative sides… Who can also write, explain, negotiate and mediate all your legal contracts…

Simply put, I'm a Music Business Consultant, Educator, Advisor, Mediator and Contract Specialist. I've been guiding Music Business Careers for over 25 years, covering the Creative, Business & Legal/Contractual sides. I usually can answer anyone's questions on any facet of the Music Business - no matter what style of music [excepting classical/opera], or what stage of their career they're at.

I guide: Artists/Groups/Bands, Songwriters and Producers, etc., on the Creative end; and Managers, Publishers, Production Companies & Indie Labels, etc., on the Business and Legal end. My aim is to help people and/or their companies “Get In, Survive, & Succeed in the Music Business - Without Getting Ripped Off!"

Note: I am NOT an attorney! I have taught quite a few attorneys as well as many others Entertainment Law [Mostly Music Business related], and the Music Business and how it operates. They soon find out, especially in the Music Industry, that it’s not always just what’s IN a Contract that can hurt you, but also what’s been left OUT of it!

What I Charge: Contrary to popular belief, Pooches have to eat, too, but no, I don’t charge for every email, short phone call and that kind of stuff. You’re not always on the clock! Otherwise, my pricing structure is very simple:

I charge unsigned acts and newer companies $65 an hour. When they become more successful, it becomes $95 per hour. I have set prices for most contracts I write [fully personalized to you and your exact situation!]. Negotiating and explaining contracts falls under the $65 per hour charge.

Contract-wise, I’m not a believer in dragging things out, but I am into making sure my client is protected. Simply put, I’ve been doing Contracts for over 25 years, so I know and understand them, and since I also know the Music Industry and how it operates, I can be quick - but still be thorough. And like an Attorney, everything is kept strictly confidential…

I recommend you check me out thoroughly, just as you should anyone else in the Industry you may want to deal with. For example, put “Professor Pooch” [or my birth name, David J. Spangenberg] in “Google”, but you should also check out my large Music Business Site, professorpooch.com, for much more info on me, as well as the Music Business, including my Book and Courses...

If you have any further questions about me and/or what I do, ask me! This Pooch doesn’t bite! :)

PP

Professor Pooch
Music Business Guidance
Education & Direction
Complete Contract Services



A Complete Music Business Education
in Simple English:
The Music Biz On A Disk™

Email: Professor Pooch LLC

US Senate Panel Approves Radio Royalties For Performers

By Fawn Johnson Of DOW JONES NEWSWIRES WASHINGTON -(Dow Jones)-

The Senate Judiciary Committee on Thursday approved a bill to require radio stations to pay royalties to performers when their music is aired, a top priority for the recording industry.

The Senate committee vote marks the furthest congressional progress yet for the measure, although it is still far from becoming law.

Broadcast radio stations now pay song royalties to songwriters and producers, but they don't pay performance fees for playing the artists' music.

In contrast, cable, satellite and Internet radio pay performance royalties.

Under the bill, large radio companies such as Clear Channel Communications Inc. and Cox Radio Inc. would be required to pay negotiated royalties to performers for playing their music on the air.

The measure includes features to accommodate financial woes of smaller broadcasters. Broadcasters making less than $50,000 a year could elect to pay $100 as a flat fee to play all the music they want. Mid-sized stations also would have flat-fee royalty options on a tiered basis.

A similar bill passed the House Judiciary Committee earlier this year. Rep. Howard Berman, D-Calif., one of the lead sponsors in the House, has acknowledged that the measure isn't likely to see a House floor vote this year because it doesn't yet have enough supporters.

The National Association of Broadcasters has been lobbying aggressively against the bill and has garnered enough members in the House to stop the bill from becoming law.

The NAB argues that performers receive free promotions worth millions when their music airs on the radio.

Broadcasters also say the extra cost for the royalties would be devastating to their businesses. The Minority Media and Telecommunications Council and the National Association of Media Brokers told Senate Judiciary Committee Chairman Patrick Leahy, D-Vt., earlier this week that the legislation would throw at least a third of minority broadcasters into bankruptcy.

The musicians' supporters - the Recording Industry Association of America and the American Federation of Television and Radio Artists among them - say the U.S. is the only industrialized country in the world that doesn't pay performance royalties. That disparity costs American musicians between $70 million and $100 a million a year, according to Leahy.

The bill also includes language to set the same general royalty rates across different broadcast platforms, a particular concern for Internet radio. Sen. Diane Feinstein, D-Calif., has asked for such changes, and further negotiation on those provisions is expected.

If you have any further questions on this release, please let me know...

PP

-->Note: Artists & Labels - this is for you!

http://www.americansongwriter.com/2009/09/shane-german-artist-manager-for-soundexchange/#

Shane German, Artist Manager For SoundExchange

By Paige Crutcher on September 29th, 2009....

Shane German is artist manager for SoundExchange, an independent, nonprofit performance rights organization that is designated by the U.S. Copyright Office to collect and distribute digital performance royalties. A representative from the SoundExchange, one of the sponsors of Next Big Nashville, is scheduled to appear on a conference panel. The group will also have a NBN booth, where artists can sign up for the service.

What does SoundExchange do?

SoundExchange collects royalties for recording artists and copyright holders when their music is played on digital services or the Internet.  Day to day, our executive staff members appear on panels and educate the industry about SoundExchange and performance rights, and keep our whole organization running.

Our distribution operations staff processes millions of performances a year, and our membership and royalty departments ensure all artists and rights holders receive the most accurate payments possible. Our licensing professionals strive to make getting a performance license an uncomplicated task for service providers. I and my colleagues in our outreach and external affairs department, are constantly spreading the word to unregistered artists and rights holders, and getting the word out about performance rights in the music community.

Why was SoundExchange created?

In 1998, recording artists and copyright holders were granted their first-ever rights to compensation when their track is played on SIRIUS-XM, by webcasters, or digitally transmitted a bunch of other ways.  The Copyright Royalty Board, which is appointed by The U.S. Library of Congress, said SoundExchange was the best organization to take care of collecting those royalties and making sure they get to artists and rights holders. We’re big believers in the rights of people to be compensated for their creative work, and we’ve been working hard to ensure that they are.

Who does SoundExchange collect royalties on behalf of?

SoundExchange collects royalties for the people who create and own sound recordings – all kinds of music, comedy, spoken word, and more. Of the royalties we collect, half goes to recording artists, and half go to copyright holders, which can be a label, or with independent artists, might be the artist again. Right now, SoundExchange represents 5,000 registered record labels and over 42,000 registered artists. We’ve got signed and unsigned recording artists; small, medium and large independent record companies; and major label groups and artist-owned labels.

Do you feel the word is out –- that artists know who you are and the service you provide?

The music industry and the recording community have been really receptive to what we’re doing. They understand that this is a fundamental issue of fairness – of paying people for the work they do. In a lot of ways, the community has spread the word, and when artists get paid for the first time, they tell their friends, and our reputation spreads out organically. But we’re a young organization, and the performance right is still only about ten years old. A lot of people don’t know that this royalty exists, or just haven’t filled out the paperwork we need to pay them properly. We’re still putting a lot of energy into putting the word out about what we do and how to get registered.

Is SoundExchange the only organization that collects royalties on the behalf of artists and sound recording copyright owners?

Yes and no. SoundExchange is the only U.S. organization which collects performance royalties – that is, the royalties from a particular recording, rather than the underlying composition. We’re also the only organization which pays featured recording artists, sound recording copyright owners, and independent artists who record and own their masters. Composers, songwriters and publishers are paid through membership with ASCAP, BMI, or SESAC. Recording artists in other countries have their own performance right organizations, but SoundExchange works in partnership to get them paid, too.

Are the artists aware that SoundExchange collects their royalties? How do you notify artists/copyright owners of their royalties?

Getting the word out to artists and rights holders hasn’t always been easy. Some don’t know they’re entitled to these royalties, or just haven’t submitted the forms. Sometimes we contact people again and again, but they don’t register. Maybe it sounds too good to be true – someone calling to give you money. Lots of people aren’t in the industry any more, and we don’t know how to contact them. Others have moved without leaving forwarding addresses, or have passed away without instructions to their heirs. We retain full-time consultants whose job it is to track down artists, and our outreach team is always looking for new ways to contact people.

For big artists, we can sometimes go through lawyers or managers, but most of our registrants are part-time musicians with jobs and families. For them, we’ve been reaching out through social networking sites, email, and phone, and conducting matches with other organizations that may have contact information, like songwriters guilds and online music hosting sites. We’re out there, every day, looking for people to give royalties to. Isn’t that amazing in this economy? We’re out trying to track down people to give them money.

As Manager of Artist and Label Relations, can you tell us a little about your role within SoundExchange?

I wear many hats here.  In addition to membership outreach to artists and record labels who are not registered and do not know they have royalties waiting for them, I also work with foreign performance right societies to identify our members and help them get money from overseas where we have reciprocal agreements.  I speak at and attend numerous music industry conferences and events and lately have been working as a consultant for the musicFIRST Coalition.

I really like to work with the artists we represent and nurture those relationships and get them involved and be an integral part of our growth.  It’s funny, I feel I am just doing my job but am always touched and humbled when I get a Christmas or Thank You card from an artist who appreciates the royalty checks they receive thanks to our efforts.  Some of these artists have never received a royalty and it’s touching to hear their immense gratitude when they get that first check.  I have an autographed photo of Wanda Jackson on my desk that says “Let’s Rock”.  It’s the little things like that that make my job here incredible.

How have you seen SoundExchange evolve?

SoundExchange has grown a lot. In 2002, there were only a few employees, and there weren’t nearly as many webcasters or streaming services as there are now. But as digital music play has exploded, and the Copyright Board has expanded SX’s role in some ways, we’ve been taking on more and more responsibility. We’ve grown up a little, had to take on some more serious IT and accounting strategies to manage the work load. We’ve also been excited to see our registration lists of artists and rights holders grow and grow, and we hope that keeps happening. It’s a great time to be a part of this team. We’re really in it for the right reasons – no one’s at a non-profit for the money – and we believe in the great work that we’re doing for artists and rights holders. SoundExchange is dynamic, and is getting stronger as we grow.

What can we expect from SoundExchange in the future?

Like I said, it’s a growing, energetic organization. We’re going to keep doing everything we can to find artists and rights holders, make sure they know their rights, and make sure they’re getting their royalties. We also want to make the process of paying royalties smooth for services that use music. New technologies are making it easier for them to keep track of every song they play, which means we can distribute royalties more fairly based on the music that’s used.

We’re also actively supporting the efforts of the MusicFIRST Coalition, which is trying to get performance rights extended into broadcast radio. That would level the playing field, since AM and FM stations have been getting away with not paying artists for decades, while their competitors at satellite and web radio recognize that artists and rights holders should be paid when their music is used. So those are the new frontiers, and you can bet SoundExchange will be on the cutting edge.

------

If you have any further questions, give a yell

PP

I've seen waaay too much of this lately - it's very common: People sabotaging their own careers...

The Art of Accepting Success

Written By: Professor Pooch

It is very important that you be wary of something most people don't know exists: the “fear of success”.  This is often coupled with a will to fail.  

It's amazing when you consider the number of people who work hard, literally wear themselves out, and yet never achieve the success everyone feels is their due.

I honestly believe that in most cases the person subconsciously feels they “don’t deserve to be successful”.  They may have been “put down” by people quite often when they were growing up, and they weren’t old enough to analyze and differentiate between “fact” and “opinion”.  Let’s face it; when you hear something under the age of 6 often enough you’ll believe it’s true.

They don't become successful because success is something they literally can't imagine for themselves, for various reasons, and they are constantly putting stumbling blocks in front of themselves, ensuring their failure.

These people lack the capability to think positively.  They may tell themselves all types of uplifting things, but they don't believe what they say.  Failure is their mode of life because they cannot imagine anything else.

It is important to develop the ability to think positively, and it can be done.  It really isn't difficult, although at first it may seem that it is.  When a negative thought appears in your brain, “X” it out and replace it with a positive thought.

Just like a computer can be re-programmed, so can your brain – the most amazing computer that ever existed.

The first step to success is to establish small goals that are reasonable, ones that you know deep inside you can achieve, and then work for them.  After some small successes, the larger goals won’t seem so far away.

Note:  One of the four main things I look for in an Artist is DRIVE!  These people who have drive never have a fear of success.  They steadfastly intend to make it to the top and nothing's going to stop them!  The word “fear” is not in their vocabulary.

Also, there are people in the Music Business we've all heard of whom have achieved great success, and then have destroyed themselves, some through drugs - alcohol is a drug - some through personality changes resulting from fear, etc.  

Success is frightening to a lot of people; they don't feel they deserve it, that it's really an accident, and that it must soon disappear.  If they believe this, it will, because they aid in its disappearance!

Success need not be fearsome, and it is not to people who have first understood, and then remained themselves.  To them, success is just an upward change of circumstances, resulting from their work.  They know they're entitled to it, because they've earned it.  They know they deserve it.

Likewise, people with hit records who feel that they must produce another hit every time, work under self-imposed stress.  Of course their audience wants them to come up with another hit.  So does their Record Company - Music Industry People love hits - it's where their money comes from.  

So what?  No one in the world is so gifted or so magical as to be able to produce hits on demand; too many things can get in the way that are not forecast-able, such as poor promotion.

It is very hard for someone who is under intense stress to produce another hit to actually produce one.  “Defining” the hit and then trying to figure out what made it so great and setting rules for producing a clone of it rarely works.

The way to go about it is to maintain the same way of working, the same attitude they had the first time.  The same good work-habits, outlook, heart and feelings will tend to produce other great songs or records when they're ready to come out.

Why do I go on about this?  Because I expect that you, if a career in the Music Business is important to you, can very possibly come up with, or be part of a hit recording or act.  If you change, that is, you let anything get in the way of your career, whether it be excessive drugs or partying, fear of failure or success, or whatever, you have earned the right to fail!

© 2009 David J. Spangenberg
All Rights Reserved

BUT you may re-post this if you post in its entirety

Stolen from my book, "The Music Biz" [How To Get In, Survive and Succeed In The Music Business - Without Getting Ripped Off!]

http://www.professorpooch.com/Book.htm

Goals: Who Are You and What Are You About?

OK- you know you can write songs, sing, or play an instrument.  Now what?

Or, you see yourself being drawn to the Business or Legal sides of the Industry. Now what?

Drifting along with the tide to see where it takes you, sometimes, but rarely, works.  More often you end up bouncing off the walls, hung up on snags, going nowhere, subject to the varying currents of life.

What you need is a game plan, with goals and a timetable.  Before you can establish these, you need to know who you are, and what you are about.

It's necessary to take a good, critical look at yourself.  You must go deep, to the deepest place inside of you, to find your picture of who and what you are.  You must ask yourself questions and come up with imaginary images and imaginary roles - actually picture yourself in these situations and try them on for size.  

How do these images and roles actually “feel” to you?  You must be honest, for you can only hurt yourself as well as waste a lot of time and effort by playing the game falsely.  

Now, slowly read through these questions:

- What are my musical goals: Writer, Performer, Producer, other?

- Do I want to be a solo Performer, a “Star”, or a backup Singer or musician?

- Do I want to join, or form, a duo, trio, singing Group or Band?  

- Do I want to perform live, record, or both?

- Would I prefer playing private or public places?

- Would I prefer intimate surroundings or rip-roaring excitement?  

- Do I want to perform locally, nationally or internationally?  

- Would I prefer bars, clubs, casinos, theaters, stadiums, dance halls, or a combination of places?

- What kind of Music do I want to play: Rock, Country, New Age, R&B, Gospel, Dance, Rap, Alternative, Show Music, Pop, Jazz, Classical, Fusion, a combination of these or all kinds?

- Do I want to perform original Music or that of others?

- Do any of these images and roles feel right for me- or wrong for me?  

- Will any of the above make me happy?  

- Do I honestly want to get ahead in Music?  

- Do I have the necessary 'drive'?  

- Would I be happier 'behind the scenes’?  

- Am I better suited for the Business end of Music?  

- Would I rather be a Manager, a Publisher, a Production Company or Indie Label?

- What are my financial wants or needs?

 

Quite a lot to consider carefully and honestly, isn't it?  It's no overnight process, but something you should think through carefully.  You should answer these questions before you proceed with your career.  

By using forethought, you save time, energy, and money.  You'll avoid wrong turns, and apply yourself to doing what you want to do, going where you want to go.  Getting underway is always better than standing still, and you need to get moving!  

Yes, all things can change with time, and so may you, including your goals, and what you feel.  But meanwhile, use these answers to get in motion.  You don't have to regard them as permanent, unchangeable, or engraved in stone.  They are an effective tool to start the ball rolling in the right direction.

As you progress, you will find your own personal ways of expression.  It will happen naturally - once you're in motion.  

In the meantime, getting yourself underway will enable you to survive.  What you do today and tomorrow to put food on the table and pay the bills is not what you may be required to do for the rest of your life.  It may only be temporary.  But, with a great game plan, derived from knowing yourself and what you want, you can gradually work towards success.

Practically anything you dream of is possible if you believe it possible, go about it in the right way, work hard towards it, and take the time necessary to do it right.  

“Overnight success” is the stuff of fairy tales.  All of a sudden, true, a new “star” appears, and it seems to be an overnight thing, but if you dig into the details, you'll usually find a long period of working hard, paying dues, and struggling to survive behind the success.  

A great example: The most successful Group in history, the Beatles, worked hard for seven years, sometimes playing long hours seven days a week before they “magically appeared”!  

Persistence makes you “lucky”.  You'll have a much better chance of being in the right place at the right time - which is luck!

Learn the art of patience as you set small goals along the way.  Make each goal a little bigger than the last one and work hard to achieve it.  Each goal you reach will give you satisfaction, demonstrate progress, and build the confidence and drive you need to get where you want to go.  So, get on your way!

© 2009 David J. Spangenberg
All Rights Reserved

BUT you may re-post this if you post in its entirety

Stolen from my book, "The Music Biz" [How To Get In, Survive and Succeed In The Music Business - Without Getting Ripped Off!]

http://www.professorpooch.com/Book.htm

 

1. To get their own Songs "out there".

2. To get themselves out there as an Artist.

3. Creative Control over their Music as well as the recording of it.

4. Better bargaining power so as to get more of the "benefits".

A few of my musical and other "Pet Peeves" - things that drive me nutso...


Professor Pooch
Music Business Guidance
Education & Direction
Complete Contract Services

 

Music Business Book & Courses
All In One Package
A Complete Music Business Education in Simple English:

The Music Biz On A Disk™ Email: Professor Pooch LLC

Sample Pages from the beginning of the 1st week of my down-loadable course... Please ignore MySpace formatting issues...

Songwriter's & Music Publishing Course
By David J. Spangenberg
© 1984, 1991, 1998, 2003, 2004, 2005, 2006, 2007, 2008, 2009
David J. Spangenberg
All Rights Reserved
Week 1: An Introduction to Music Publishing

I. Introduction:

(Note: Since the subject of Music Publishing is usually confusing, let alone misunderstood by most people, it's important to spend the first week's lesson immediately painting a clear picture of what Music Publishing is, and then go into greater detail later on in the course.)

When you think of the word "Publishing", most people think of "Books", and that a Publisher sells books. Well, at one time there were no records or tapes, let alone, CDs, MP3's, Videocassettes and DVDs. Originally, people received all their music in the form of Sheet Music, that is, printed documents that contained words and notes of songs that allowed people to stand around a piano and sing with their friends and relatives.

Sheet Music still sells, (as well as Books of Sheet Music, known as "folios") but this is a very small part of one of the most profitable parts of the Music Business. Songwriters and Music Publishers also can make sizable amounts of money worldwide from…

1. Sale of Records, Tapes, CDs, DVDs, Videocassettes, etc. - anything containing Songs played on a mechanical device, and therefore called "Mechanicals".

2. Live and recorded Radio & TV (including Cable) Performances, also known as "Airplay". This also includes "Jukeboxes", live and recorded performances at restaurants, clubs, bars, hotels, casinos, health spas, etc., etc.

3. "Synchronization Rights" (when Songs are synchronized with Film and TV Movies, etc.)

4. Commercials (Advertisers are going more to Songs than Jingles, at the present)

5. "Elevator Music" (when you hear Songs played in an elevator, supermarket, when "on hold" with a telephone, etc.)

6. Computer Chips, Computer Programs, Cell Phones (Ring tones), and Video Games.

7. Etc., (including any new forms of technology and formats that seem to be appearing monthly!)

Simply put, whenever a Song is performed, no matter who performs it, the Songwriter and Publisher could (should) benefit! It is also the Music Business's best-kept secret - how it is possible to sometimes make quite a lot of money, with very little time and effort. Therefore, there's a lot of competition for publishing rights - and the money that goes with it. Today, many Songwriters and Producers, as well as many others in the Music Business have their own Publishing Companies - something unheard of 30 years ago - because they want the publishing rights and the money that goes with them. In most cases, two or more publishing companies will make deals with each other.

By the end of this course, you will have all the pieces to the puzzle - how you can be a part of this very profitable segment of the Industry. Of course, you have to first understand what Music Publishing is and how that section of the Music Industry operates, so that you can become successful - without getting "ripped-off".

A little history of Music Publishing is necessary at this point. Before 1960, most people in the Industry, as a matter of course, went to Music Publishers for their Songs. The Publishers had Songwriters on staff as salaried employees, as well as other Songwriters constantly contributing Songs. But since then, many Singers/Bands/Groups began writing their own Songs. That isn't to say that Artists, Managers and Record Producers don't go to Publishers looking for material, or that Publishing Companies can't still place Songs for Songwriters. They can and still do, but not as often as they used to.

Also with the advent of technology, many of the pure definitions of roles in the industry have changed: mainly the Songwriter, the Arranger, and the Producer. Nowadays, a single person can sit at a computerized keyboard, in their home studio, and write, and/or arrange and produce Songs; not realizing which role(s) they are playing. Actually…

1. "The Song" is composed of only…

     a. The Words
     b. Lead Melody

(Note Regarding "Rap" music: Often I've noticed that the person doing the "Tracks" (see arrangement) is given credit as a writer. In actuality, the tracks person is not really a Writer, he/she is an Arranger, but as long as it's mutually agreed-to that they get credit as a Writer, then it's acceptable.)

2. "The Arrangement" (the "tracks"), what the instruments play and how they play it, includes…

     a. Chords
     b. Rhythms
     c. Tempo
     d. Instrument's and Background Singer's notes

3. "The Production" includes…

The mixing together of various elements, including setting/choosing…

     a. The Volumes of the Instruments
     b. The Tones
     c. The Frequencies
     d. The "Effects" (such as Reverb, Digital Delay, Compression)
     e. Other Sounds (such as prerecorded Samples and Loops often used in Recordings nowadays)

… to achieve the final "Sound" you hear on a Record.

It is important, and therefore I am including in this course, information for Songwriters who are also Singers and Group or Band Members as well as Producers. Also, understanding Publishing is very important to the Managers in that they receive commissions from the Artist's Publishing, or they have a Publishing Company of their own; and Producers of Artists, in that Publishing is a rich source of income for them.

It is important to note, also, that packaging the Artist and Song together and selling them as one entity, has become a very important consideration to most Publishers - it makes the job much easier for them. They then don't have to search for an Artist willing to record the Song(s).

II. What is a Music Publisher's Job?...

For more on this course, please check out:

Songwriting & Publishing

This is a completely updated and quite expanded commentary covering very important information I touched on previously, preparing you for anything you want to do in the Music Biz, while protecting your rear end and preserving your sanity. I recommend you copy and paste it and print it out - there's a lot here... And please pass it on to all who need it... Thanks!

Everything You Need To Do
To Be Prepared For
Anything You Want To Do
In the Music Business

By: Professor Pooch

© 2008, 2009 David J. Spangenberg

It is quite well known that the entire Music Industry is in flux and quite a lot of time and energy is spent by everyone trying to figure out and cope with all the changes that are occurring.

For example, let's look at the option [yes, nowadays it's an option] of dealing with the well-known "Record Companies", for example…

Note: I put Record Companies in "quotes", because, nowadays the term "Record Company" may also include any Entertainment Oriented Company with power and/or money and/or knowledge, and/or a great work ethic, such as what "Live Nation" is doing with U2, Jay-Z, Madonna, etc.

Some of the newer, preferred types of deals by the Major Labels, their subsidiaries, and large Indies are:

     A. "360 Deals", where ALL avenues of income are included - including Performing, Publishing, Merchandising, etc. There are also "270 Deals" where, perhaps, a part is left out, such as Publishing. "180 Deals, etc…

     B. "Joint Ventures", where everything is split rather equally with another Company.

     C. "Up-streaming", where if you sell a certain amount of downloads or sales by yourself or with an Indie, and a larger Company takes over many of the responsibilities at that point. Sales numbers, where you are "up-streamed" to a bigger Company, usually average around 25,000 - 50,000 downloads or CD sales.

… plus other variations that are coming into existence seemingly everyday in The Digital Era.

Simply put, without going into a ton of detail, if an Artist wants to sign with a Major or one of their "Subsidiaries", taking into account the direction the larger Companies are taking nowadays, you must understand that these Companies will be more likely to sign Artists that look like they know what they are doing; that is, those Artists who have their biz together, including drawing a large amount of fans to their concerts, creating a large buzz at least regionally, and hopefully selling 25-50,000 downloads and/or CDs on their own.

Then again, maybe you just want to DIY [do it yourself], and keep a good amount of control of your project. You can DIY with a good deal of persistence, work, and at least a good, basic knowledge of the Music Biz and the Internet. And actually, you may eventually profit money-wise and otherwise way more than if you were with a Major!

Or maybe you want to aim somewhere in-between, say going with an already established Indie Label.

But, before you even decide to move ahead with any route through the Music Business, you need to take care of your Own Artist/Band/Group/Songwriting/Publishing/ Production/Management and/or Label Business. This includes those of you interested in dealing with the Major Labels, doing it yourself, or anywhere in-between. That is, if you wish to succeed - AND make money - AND be protected!

First, there are things that you should at least know about, or better yet, do, before you even think of signing with a Manager, Production or Record Company as an Artist; or setting yourself up as a Management, Publishing, Production Company or Indie Label so that you can retain at least some of the Creative, Financial & Legal Control - plus know, or at least look like you know what you are doing! This way you also have a much better chance of attracting legitimate, professional People and Companies, instead of wasting time and energy attracting those who have no idea about how the Music Biz operates - or people trying to just take advantage of you and/or your project. In other words, you should prevent yourself from wasting time, money, as well as your sanity - and being ripped off.

Here are the 12 important items you should seriously think about doing to set yourself up for a smoother and safer journey:

1. Sorry, but I've got to start out with, "You Only Get One Chance To Make A 1st Impression"! You need to be GREAT - not just "Good". There are tons of "Good Artists" and "Good Songwriters" and "Good Managers" and "Good Producers", etc. You want [need!] to stand out from the crowd! You and/or your Product or Project need to be GREAT!

2. If you're a Singer or Musician in, or a Manager of a Group or a Band, there are 2 things that must be 1st agreed to before going any further:

     A. Artist/Musician Status:

Is any musician[s] "more important" than any other[s]? That is, for example, are all singers/musicians considered equal, or are some "paid employees"? Another example might be if 3 in the band were together for 5 years and one just joined, maybe they'd get lesser percentage.

     B. Songwriter/Publisher Status:

Note: The Songwriter is the Creative entity who creates the Songs, and Publisher is the Business entity who owns the Songs and handles the business for the Songwriter. [There should be a 50-50 split of all income between the two!]
Some Songwriting/Publishing options are:

          i. The actual Songwriters [lead melody and words; in rap, usually includes the "beat-maker"] receive all the benefits of the Songwriting & Publishing ownership and income.

          ii. The actual Songwriters are listed and receive the benefits of the Songwriting, but Publishing ownership and income are split among the members of the Band/Group.

          iii. All of the members of the Band and Group split the benefits of the Songwriting & Publishing ownership and income equally.

          iv. Different variations of the above three options, such as, different percentages to different members, etc.

In my opinion, a fair compromise is "ii". Here the songwriters are credited with their creation, but the Band as a whole shares the Publishing income for their contributions - and to feel part of the team.

I also recommend that the contract state [I'll get into contracts, later] that it only includes songs performed and/or recorded by the Band, and not necessarily for work outside of the Band.

3. If you Manage or are in a Band, the Band should have a "Band Agreement", which is basically a Partnership Agreement between the members of the Band. It should cover quite a lot, including: splits of ownership of Publishing, Recordings and the Band Name, etc., splits of moneys on all accounts, what happens if you add or drop a member[s], sharing of responsibilities, what happens if…, etc., etc., etc.

4. Songwriting & Publishing - Protecting and getting paid for the Songs.

     A. All Songwriters should join one [only one is allowed at a time] Performing Rights Organization. In the United States, your choices are: ASCAP [ASCAP.com], BMI [BMI.com] or SESAC [SESAC.com].

     B. At the same time, I recommend you also join the same one as a Publisher.

When you pick one of the PRO's, download both the Songwriting & the Publishing Applications, and fill them in, print them out, and send them in.

Note: I'm not going to go into detail here on why this is so important, but I'll simply say to you - Songwriting and Publishing is where a large chunk of your money comes from, especially if you're an Artist - and people need to know WHO to pay for your services!!!

     C. Sign a Songwriter's Agreement to Your own Publishing Company! Why? In short:

          i. In case you ever sell your Publishing Company you'll still receive your Songwriting Income!

          ii. It is a fact that sooner or later you'll have to split your Publishing with someone else. When you do, who is going to give you a better Songwriter's Agreement: Them or someone representing You! :)

     D. Register Your Copyrights In Washington!

Go to professorpooch.com, in the "Free Library" section for free info on the "How to… why's and wherefores".

5. I highly recommend you research your name and "Trademark" it [™]. If you don't, there's a reasonable chance someone else might already be using Your name, or Company or Band name.

Note: I actually did a "name search" for one Band, and found six others that were active Bands with the exact same name! I recommend you go through MySpace and check out your name, as well as other fan and networking sites, or by just putting it in "Google".

I also know of Managers who have owned well-known Group Names, and they'll have 3 groups of people claiming to be that same Group playing in three different places the same day!

To do a Trademark search, go to:

http://www.uspto.gov/main/trademarks.htm

…and towards the top of the right column click on "Search" and follow the directions.

Simply put, you want to own your name since you are putting time and energy into promoting your name. And, if you don't own the name, and you become successful, some other Person, Company, Band, or even your Record Company or Manager may be tempted to own it themselves!

6. If you are paying for your Recordings - you own them.

Note: Did you ever notice the (P) on a CD or wherever. That stands for the Ownership of the Production [Sound Recording] Copyright [SR form], and will normally list the Record Company after it. [The (c) stands for the ownership of the underlying song - Published or Un-Published.]

And, if you own your recordings, why not form your own Record Company? How? ::Poof:: you are a Record Company. Congratulations!

But yes, you should also sign a Production Company/Recording Contract with yourself! That way, if you become even moderately successful on your own, they may have to deal with you as a Production or Record Company - and not just as an Artist. [Remember what I said towards the beginning of this commentary about "up-streaming"?]

Without going into a ton of detail here, you may earn a lot more creative and legal control of your situation when dealing with a larger company - including receiving a bigger piece of the financial pie! And, to take it one step further, you can even sign other Artists/Bands to your label :)

7. If you are a Record Company and/or Performer, sign up with "Sound Exchange" [soundexchange.com] to pay for Internet and other mainly digital Performances.

8. I recommend you Incorporate, to protect your personal assets and for tax reasons, etc. And remember to ask for an EIN# [tax ID number].

9. Check People and Companies Out Thoroughly!

Make sure you check out the people you think you may want to learn from or deal with - including me! Nowadays it's very easy:

Put the person's name in "Google", for example.

[I invite you to put "Professor Pooch" or my legal name, "David J. Spangenberg" into the search engines, besides checking out my site that has my resume, along with my teachings - professorpooch.com. My MySpace is: myspace.com/professor_pooch]

Also, ask people who know these people and Companies, and are possibly signed with them, etc., their thoughts on that person or company. Keep in mind, that the person can only give you an opinion, and there are 2 sides to every story.

The people you deal with can either help your career or hurt your career - even if they don't mean to, by not knowing the music business and how it operates, nor actually are in good graces with the people that can further help you. Remember, it's not only important whom you know, but more importantly, who knows You!

10. Partnership Situations

If you are working with anyone else in some form of a sharing or partnership situation, you should have an agreement spelling out the needs and protections that fit your situation.

As I state on my Site describing Partnership Agreements:

"[This includes Band members and their relationship with each other!] The contract people don't think about until it's often too late - an agreement between the people sharing the money and responsibilities of running one or more company(s) - including offshoots! [E.g.- "Management Company" and/or "Production Company" and/or "Publishing Company", etc.] - whether it's 2 partners to 50! This type of Agreement [should] distributes responsibilities, shares, money, protection to each partner, etc., etc."

Too many times I've heard, "I thought I knew this person!" or "They're family!" or "I grew up with them!" And then…

Simply put, people change, or their situations change, including outside influences, including people, in their lives. It's better to have your situation spelled out clearly in entirety before you enter into a situation, so that everyone feels comfortable and knows what they are getting their selves into.

11. Contracts, Contracts & More Contracts…

Yes, to become successful - including keeping your money and sanity - you'll have to deal with Contracts, whether you want to or not…

     A. How NOT to deal with the Contracts listed or inferred to above?

          i. Write one yourself [unless you know contracts and the Music Biz inside-out, and are totally up-to-date on all the changes going on], or

          ii. Get a Sample of one off the Internet or from a friend.

Believe me, I've run into way too many people coming to me crying, "Pooch, Get Me Out Of This Damn Contract!!!" What people don't understand is that too often what has been left OUT of a Contract, is just as or more important as what's IN it. And if the person who wrote it doesn't fit it to you and your exact situation, wants and needs, there's no way you'll be safely covered.

I've seen way too many Music People waste too much time, energy and money dealing with poorly written or inaccurate contracts. And it's much easier, time efficient and less expensive to prevent a disaster, than to undo one.

          iii. Don't put the deal in writing with all parties signing it.

Simply, I've run into way too many people that didn't put the agreement in writing before they'd started a project, and have been screwed!

     B. How SHOULD you deal with the Contracts listed or inferred to above?

It's simple, either deal with someone like me, a Music Business Contract Specialist with 25 years of experience who works nationally, or go to an Entertainment Attorney who specializes in the Music Business.

Let this person know your exact situation and any concerns you may have. This person then will be able to protect you by personalizing an agreement that will allow you to safely move ahead in your dream job!

One last thing: If someone pressures you into signing an agreement without letting you take time to look it over and/or allowing someone who knows the business really well to negotiate the contract for you, escape as fast as you can! Not only is the contract most probably no good or worthless, but the person or company offering you the contract, also! Keep in mind that, contracts are only as good as the people entering into them.

12. Learn The Music Business! For what reason, WHY should you be knowledgeable about, and be concerned with, all of the above?

To the point, if you have all your bases covered as I described above, you are business-wise and legally set up to safely and profitably do almost anything, and deal with almost any and everybody in the Music Industry - including just Doing It Yourself, if you wish to…

You should learn at least the Basics of the Music Business and how it operates so you even know how to question interested parties to see if they really know what they're talking about or doing. [Beware of "Name Droppers!"]

A great way to start would be going through my Music Business Education & Information Web Site

Also, I recommend you check out my easy-to-read-and-understand, down-to-earth book and courses on that site, including my all-in-one "Music Biz On A Disk" [there's sample pages]

http://www.professorpooch.com/Special.htm

It's an easy-to-understand, down-to-earth picture of the Music Biz, with all my Courses and Book - 700 pages that will show you how to operate safely and successfully in it.

And remember, if you have any questions on any of the above, or need any of my guidance or contract services, feel free to contact me…

Please Re-post This In Entirety For All Your Music Business Friends…

Professor Pooch
Music Biz Guidance
Education & Direction
Complete Contract Services



Your Music Business Resource Center
A Complete Music Business Education in Simple English:
The Music Biz On A Disk™

Email: Pooch@professorpooch.com

Sample Pages from the beginning of the 1st week of my down-loadable course... Please ignore MySpace formatting issues...

Artist Development & Management Course
By David J. Spangenberg
© 1984, 1991, 1998, 2003, 2004, 2005, 2006, 2007, 2008, 2009 David J. Spangenberg
All Rights Reserved

Week 1: The Artist Looks for A Manager
[Note: "You" = "Artist" - this week]

1. What Is A Manager (supposed to be able to do)?

    A. A person who "guides, counsels, advises and helps to provide employment"

    B. A protector, and "doer".

    C. They take all steps necessary to help you become a success.

    D. They make money when you make money; the more you make, the more they make. Their success comes through helping to achieve your success.

    E. They can be an objective person who can look at all aspects of your situation, analyze them, and make a rational plan. They have to be able to look at you and your work differently than you do.

      1. Your work is intensely personal, and you're probably too emotionally tied to it.

      2. Everyone needs a professional outside opinion, not friends or relative. It's hard for them to give an honest, sound opinion.

          a. They're too close to be honest and unswayed by feelings;

          b. If they're not professionals, they're not qualified to give an opinion.

          c. If you listen only to friends and those close to you, you'll run around in circles, being pleased with yourself but making no progress. Or worse, they don't like your stuff, or they're jealous - and it really has "hit music" potential!

Note: Do not mix up "Manager" with "Agent" - many people do! They are two different animals. Agents are "middle-men/women" who get "gigs" etc, for people. Managers, as you will see in the contract in "Week Two", may hire Agents for you when needed. Agents need an "Employment Agency License" to legally do their work. Managers, in most states cannot legally "book" their Artists, although some will book their Artists here and there, in the beginning.

2. When Do You Need a Manager?

    A. You may have no idea what you should do, or do next.

    B. When you've reached a certain level and can't seem to progress any higher, no matter what you do.

    C. You may be disorganized, lost, or simply not have the right contacts to get ahead. Like you're spinning your wheels and going nowhere.

3. When Don't You Need A Manager?

    A. If you're solely a Songwriter and not an Artist

    B. You're happy being a local Band, or Group. [Look into getting an "Agent"]

4. Why Do You Need A Manager?

    A. "I don't need a Manager; I can do it all myself." Famous last words of otherwise talented artists who killed their careers!

    B. Strong musical, writing or singing talent does not necessarily mean you have managerial ability.

    C. Your time is better spent creatively, constantly improving what you do.

    D. Do you really know what the best move is that you can make?

    E. Do you actually have an honest evaluation of your own work?

    F. Can you be objective about it, or are you defensive?

5. A Great, Professional Manager...

  A. Has contacts in the music industry.

    B. Knows what's happening in the industry.

    C. Know what (people are looking for) Booking Agents, Publishers and record companies are looking for.

    D. Probably has experience managing others.

    E. Knows the advantages and pitfalls in almost every situation that's likely to arise.

    F. Is "streetwise" in dealing in the industry

    G. Can avoid blind alleys in negotiations, make fewer mistakes, and save you time and money.

    H. "Takes the heat off you" from your attorney, Band Members or Group, club owners and Managers, Booking Agents, Record Company exec.'s, etc.

    I. Knows how to use the Web for marketing and promotion, and keep up with the latest technologies.

Note: Many artists have killed either their recording or performing careers by fighting over assorted issues, either musically or business-oriented. Your Manager, not you, is the one to fight with the company or person!

    J. They can be the super tough "bad guy", or turn around and play "good guy" for you.

Note: They can do so many things for you, if they're great. If they aren't, you'll curse the day you met them.

6. How do you find a great Manager? [Someone you can entrust your present and future?]...

For more on this course, please check out:

Artist Development/Management

PP

A necessary, updated reprint for Artists, Street Teams, Managers, Promoters, Venues and everyone else interested in putting on Great, Successful Shows!  I originally posted it in 4 parts. And, if you read it before, it sure would help to read it again - because it's an important part of your career!

Unsigned Acts and Drawing Fans
A Commentary, by Professor Pooch
© 2008, 2009 David J. Spangenberg

I look all around the country and I see Musical Artists/Bands looking for places to play for as large an audience as possible, wanting to be heard, wanting to gain new fans, wanting to earn a living doing what they like to do – which is: Creating and Playing their Music.

Naturally, they are going to go where they can be hired, which most of the time consists of different Bars, Clubs and other drinking establishments...

Well, in theory, this should work pretty well; you have places to gather and nurture fans, and you’re doing what you love to do - play Music. But, as I’m sure most of you have found out, this rarely works very well…

Why? The 1st of a couple main reasons is actually very simple when you really look at it…

You see, I remember my pre-teen and teenage years, when I, a potential Music fan like anyone else of my generation, was introduced to, and developed a taste for Music, and the Artists who delivered it.

This Music seriously affected me in one way or another in these formidable years. Music, and the Artists who presented and represented this new music to me, appeared as one entity. And this entity, and the other influences at that time of my life really affected me and became a major part of my life during this ever-important time of my life. A time when I, this young, growing person, became ME.

That was “My Generation”, but you and every other generation living and growing socially and otherwise through these same important preteen and teenage age years, accumulate[d] your own tastes, including whom you are or were influenced by, etc. You, like me, and everyone else, are attracted to certain kinds of music and the lifestyle associated with it, and you create, and start putting together your tastes which you associate with this very important part of your life. Your social, and therefore your musical life, are formulated together – by Music, and the Musical Acts that brought this Music to you…

So, let’s look at the situation and do some simple math:

On one side we have: Unsigned Acts who are usually forced to play where they can, most often in Clubs, Bars, what have you. Clubs, in most localities, equals ages 21 and above, where liquor is served. And, of course, the establishments want you to draw lots of fans, to drink up and make them money. [A fact of life – the venues don’t often care how good you are – just how many people you bring in.]

The problem is, that in these types of places, many of your potential fans, being over the age of 21, are already pretty set in their tastes. They want cover-bands and songs from their generation, or they go to arena-type concerts where the “Stars” whom they associate with these songs that made up these important years, perform.

Now, on the other side we have: Those under the age of 21 who are stuck listening to what ever is programmed into their head for them to hear, usually coming from the Major Labels, or their Subsidiaries. These younger people have no idea what they are missing because they are not given the opportunity to see and hear some great local unsigned acts that they could discover and call their own, because they can’t see these Artists and hear their Music - because they’re not allowed in the door!

Yes, there is, of course, a seemingly obvious answer to this problem. But all-ages shows have their own issues, and only partly solve the overall situation even when these gigs are available… The real answers run much deeper...

The 2nd main reason it’s hard to draw new fans revolves around the word “Perception”. Perception includes, in part, the Artist’s perception or view of their “job”, and how it affects the potential fans perception of the “Unsigned Artists Scene”.

Now, let me say here, the problem of perception and the answers to this problem do not lie totally on the Artist’s shoulders, but also fall on the Artists’ Managers, Venues, Promoters and Fans, which I will also cover later and throughout…

It should be made clear here, that Artists should still care about attracting both the over 21 crowd as well as the younger potential fans. For everyone, even those over 21, there is still the need to discover something new and different, something “to do” that people will know will at least be a lot of fun; an escape.

And one main perception problem I see with Artists is one that most do not think of, or have a very narrow slant on: “The Big Picture”. Too many Artists believe their job is to just write and learn songs, practice them, go out and sing and play them.

An Artist’s actual performance aim should be to entertain people, to help people escape from reality, that is, to help them forget about their busy and/or crazy and/or problematic and/or boring life, to grab them and take them with the Artist on a mini-vacation - that both the Artists and the Fans will remember even after they leave the show…

So, I have the following questions for you Artists:

1. “Why should your potential fans really want to come to your shows – even if they knew you existed?”

2. “When they DO get to see you, what will make them not only want to see you again, but also want to buy your CDs and Merchandise?” And…

3. “Will they love you so much that they will desire to tell others, through word-of-mouth, print, internet or however, “You Gotta See This Band!” ?

Yes, what are YOU, the Musical Artist/Group/Band offering them that’s special and really stands out? What is so unique about you that can grab their attention and keep them as fans.

Well folks, with the advent of all this computer and networking technology, you’re not only competing with a ton of other Artists, you’re also competing with quite a few other forms of diversions, entertainment and escapism.

Now, let’s not forget, there’s always the basics, because as they say, “You can’t polish shit….” You obviously have to be talented as Songwriters and Artists…

But when you practice, what else are you doing besides learning songs? Whether you know it or not, you are developing [hopefully] your own “Sound”. A Sound that [hopefully] makes you sound like YOU, and no one else. That when you hear the first 15 seconds of a Performance, you are not just grabbed in, but they also know who you are!

Your Sound makes up one integral part of your overall “Image”. And, your image is a major point to consider and develop. Your image could be described as: What you play, the way you play it, the way you come across to people, and the way you look.

Therefore, although during practice music is usually the main area of concentration, there are other just as important considerations that most Musicians don't think about. For example, does your Group look “wasted”, dead, or very much alive? What does your equipment look and sound like? What kind of relationship do you wish to develop with your audience? Are you just Singing and Playing, or Performing, communicating with your audience and drawing them in to you?

Simply put, what will affect your potential fans perception of you? That once they know you exist they will talk about you to no end.

But there’s one more very important Perception Factor that must be overcome that is necessary to draw your potential fans out of the closet so that you actually have the chance to give them a chance to get to know and love you…

Now, "Promotion" is the most obvious step that comes next in most people's minds. Artists promoting themselves, telling their fans and potential fans that they're playing at this venue or that venue.

But my question to you is, "What is it you're actually promoting?" That is, when you're promoting yourself, what will be your potential fans perception of what you're promoting? Will you just be one more "amateur artist" playing somewhere?

Let's step back to that Big Picture we discussed earlier and take it a few steps further. What is the perception that your still-in-the-closet-potential-fans will be expecting that will make them want to come out to see you?

"Well, we're playing at so & so's club or bar or venue." In other words, "Come out to our gig".

Let's face reality, if people have never heard of you, why should they come out to see you? What are you offering them that a thousand other unknowns can't [or don't] offer? Let's face it, if you perceive your appearance as "just a gig", what do you expect your potential audience to see it as!

It's useless spending lots of time, energy and money promoting something if people's preconceived perception will be, "Oh, why should I go there, never heard of them, no one's talking about them, so they must be boring, a waste of time - forget it."

My point: When you go out to see a favorite star performer in the big arenas, are you going to their "gig"? Or, are you going to, what is perceived to be a "Can't-Miss EVENT???

Now, it is up to the Artist, for one, to make it appear as one! And to appear as one, it should BE one. And it CAN be one, WHEN the Artists perceive it as one!

Every performance at every venue should be thought of, and looked at as an EVENT, a SHOW, a SPECIAL OCCASION, an EXPERIENCE, an important reason for people to leave their house, put gas in their car, pay the cover charge, etc., and come see you.

You must start thinking of your performances as if you were performing at a scaled down arena show. You have to take those "extra steps" ensuring people that your performance and your "show" are special, and that you're not just another band getting up in front of a microphone and playing and singing. Lots of people can get up there and sing and play, but most of those Artists who will get nowhere in today's society.

Unless you've been in a cave over the last few years, you've noticed that this is a Visual Society, inundated with multimedia that is competing with your band – and people often don't have to leave their houses anymore to be entertained.

"Hey man, I'm a serious Artist. I'm not selling out for no one!". Hey man, yourself, I'm not asking you to give up any integrity! I'm just asking you to come ALIVE! I'm not asking you to be anyone but yourself. I'm just asking you to look at this performance as a fun and rewarding event. And if you don't see it as one, how do you expect anyone else to think it's one?

All you need to do is wake up, make a slight attitude adjustment, and take whatever extra steps that you can conceive of and can afford that fits your image and makes your show stand out.

Now, it is not up to just the Artists to make your shows stand out…

Hey, Artists' Managers, street teams, representatives of every sort: What are YOU doing to help? Are you looking at each performance as a special one, and are you being just as creative on the biz and promotion end as your artists are on their music end? And are you making sure the Venues are on the ball?

Hey, Venues: What are YOU doing to make people's perception be that you're the "In Place" to go to be entertained? And, are you being just as creative on the biz and promotion and public relation's end as the Artists are [or should be] on their music end.

To sum it up, the Artists, Managers and Venues must work together to create this perception: an event that people will be coming to that will be extra special.

But we're wasting a lot of time here unless everyone involved understands and takes the steps to ensure that everyone's perception doesn't become just another let-down. You can't, and shouldn't even try to fool your audience. You actually have to make this event be not just another event, but an event to be remembered! And, you CAN!

The Day has come. The Artists/Bands, Promoters, Venues are all ready to stage an EVENT. An EVENT people will talk about - a “Night to Remember.”

“So, I guess we really need a Gimmick…” NO! Gimmicks are basically useless because people can see right through them, and they are needless as well. Gimmicks are looked at as Gimmicks; “Great shows” are looked at as Great Shows!

It is true that, just like all songs need great “hooks”, your show can have a hook, but it should be a natural hook. Some examples being a CD release party, a guest performer, someone’s birthday party, and the like – and there’s no harm in coming up with one each show.

One of Professor Pooch’s Laws: “Be Just as Creative on the Business Side as You or the Artist is on the Creative side” fits here. My favorite hook? Three or four Great Bands with Great Songs and Great Performances!

Your Gimmick should simply be providing a Great Event with Great Performances. Simply put, you need Artists and Venues that create a Great, Natural Vibe that hypnotizes the audience into wanting to come back to that Venue and/or to see that Band!

Every Night, every Gig should be treated as Special. And if Everyone is in a great state of mind, and if Everyone is prepared, and if Everyone gives their all, your Events will be remembered – and in a positive way.

What the Artists, their representatives and the venues are [or should be] trying to create is word-of-mouth, because excited word-of-mouth travels faster and better, and with more integrity, than any other form of promoting yourself to the masses. You are directing it to the people who matter – the fans who like you, who know people who will like you and what you bring into their lives…

Now, let’s break it down into roles:

Attention Artists [and Artist Managers]: Go out and see one or more of your favorite, successful Recording and Performance Artists and watch their show very carefully. A Great, Successful Band knows their songs are Great Songs, and the right songs to play at that Venue/Event, and the songs flow really well together.

Why/How do they know? Simply put, a Great Band is prepared and takes care of all that beforehand, usually at rehearsals. The only thing on a Great Performer’s mind when they step on that stage is, “This is gonna be a Great Show!” And they Make it one!

In short, Every Performance at Every Venue should be treated as a Special Event! Great Events must become a Habit!

Here’s a true story - and an important lesson: I was out to see an unsigned Band at this Club several years ago, and I met a friend there. It was early in the night and we were the only two customers.

To make a long story, short, the band played a basically disinterested set. After my friend left I went up to them and asked them, “Hey, You guys are much better than that – what happened?” They responded with “We were warming up and there were only a couple people there, so...”

And I told them, “Well, you just blew a great opportunity – that person who just left was a Senior Vice President of Columbia Records!”

Actually, it doesn’t matter if my friend was Joe Shmoe. If the Artist had put on a great performance, Shmoe might’ve loved the band and gone out and told others. And never forget that the Bartenders and Waitresses are people, too! People who love music! People who might spread the word! Great Performances must become Habit Forming, and nothing else is acceptable!

Are you ready and prepared to deliver a Great Show? Were you ready early in the day, or did you wait until the last minute to get everything together? Nothing like that rushed feeling for setting you up for a rotten mood. Be prepared early so that you’re relaxed and ready to give it your all!

How tight is your set? Does it move right along without your musicians just standing around? People have a verrrry short attention span nowadays, and there can be no delays trying to figure out which song to do next, checking to see if everyone’s ready, or whatever.

Your mind should be totally on your audience, not yourself, and you should be expressing how you feel, communicating with them through your body, mind and soul.

And besides treating your fans to a great performance, you should treat your fans really nicely before and after the show. And, not only your fans, but also the Venues, Promoters and their staffs. If you treat them really well, wouldn’t that make them want to treat you very well, also? And want to have you back again?!

The way you act at every event creates good or bad “PR”. PR stands for “Public Relations”, which is not the same as Promotion. Promotion is hitting someone over the head with flyers, ads and the like, and Public Relations is how you spread your name every day of your life by the simple, normal means of being yourself.

Attention Venues [and Promoters]: The Venues are just as responsible for a successful event as the Artists! Besides being known for the quality of the acts you book, you, the venues and promoters, too often depend on the Bands and their Management and/or Street Teams to handle all the promotion, etc. You should put just as much into pushing the Event and should be just as well prepared as you expect the Artists to be.

And how do you treat your Artists, let alone your customers and your own staff? Are your Bartenders and Waitresses friendly, sociable and “up”? Is your staff ready for, and looking forward to a fun night ahead - instead of just going through the motions? Do you have a Venue that your staff feels is worth talking about to their family and friends? There’s that “word-of-mouth” again.

Note: Security/Bouncers should also have the same fun and friendly demeanor, with the only exception being if and when may have to “switch hats” when needed to keep the atmosphere, safe. Ambience, “vibe”, the “feel” of the club, call it what you wish, is reflected by all the people working there, and this will help determine if all your visitors feel comfortable or not. Just doing print or internet ads doesn’t create a great Vibe – happy, sociable employees create a great vibe and make your Venue a fun place to be.

Also, most venues do little to spruce up the “room atmosphere”, when a great décor, specials on drinks, special finger food, special whatever will also really help you bring more paying people in. It benefits you as well, having your place be the Venue to hang out over all the other places.

To sum up it all up, when all the Venues, Promoters, Artists, Managers and Street Teams treat Every show like an EVENT, you all will then have done your part in creating “A Music Scene.” The “In Thing” to do which will help all the Artists be seen and become successful, which will at the same time help the Venues be seen and become successful, which will likewise make the fans come out of the closet and want to become part of this scene, because they know they will be entertained. Entertained with the help of the Universal Language… Music.


Yes, you may re-post my commentary, as long as you re-post the whole blog, or contact me... Thanks!

Professor Pooch
Music Biz Guidance
Education & Direction
Complete Contract Services




A Complete Music Business Education
in Simple English:
The Music
Biz On A Disk™

Email: Pooch@professorpooch.com