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Here's a taste of the book for you to experience its flavor. The Table of Contents and Introduction will give you a good idea of what's in it. You can also see all the terrific industry pros who shared their knowledge in the book. The indie musicians interviewed can be seen here. > Table of Contents
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Table Of ContentsIntroduction Chapter 3: Do You Have What It Takes To Be Independent? Chapter 4: Me Inc. Chapter 5: Indie Teammates Chapter 6: Mental Independence Chapter 7: Recording Independence: Chapter 8: Healthy Independence Chapter 9: Indie Resources Chapter 10: Independent Street Marketing Chapter 11: Creating an Indie Buzz Chapter 12: The Indie Store Chapter
13: Buzzing Inline Chapter 14: Marketing Your Talents for Cash Chapter 15: Songwriting Options Chapter 16: Licensing & Other Music Income Chapter 17: Performance Opportunities Chapter 18: Putting Together a Domestic Tour Chapter 19: Tackling International Markets Chapter 20: Some Final Advice IntroductionThe music industry is changing dramatically. Since I wrote my first book, The Real Deal: How to Get Signed to a Record Label from A to Z , the allure of a record deal has dimmed. Musicians are waking up to the realization that record deals don't create careers. Too many signed artists are poor. Many don't go on to a second or third album. Major labels only promote a small handful of their artists. A career in the major label system can die before it's born. This book shows that you have choices. Many different ways to make money with music are discussed. I interviewed 46 successful indie artists and over 100 industry pros. You'll get many sides of the picture of being an indie musician. There are more opportunities than ever to develop a career independently. My revised edition of The Real Deal encourages artists to stop chasing record deals and put all their energy into making money from music and developing a career. At that point, labels want you more, IF you still want a deal. With the resources available today, I'm a bigger advocate than ever of controlling your career. When you put the destiny of your music into someone else's hands, your chance of getting a long term career diminishes greatly. This book takes The Real Deal to the next level. I'm not against taking a record deal. But, I want you to be selective. Major labels sign many artists but few benefit. When you develop a career first, you're in a win/win situation - you can take a deal that gives you what you need to get to the next level, or, you can continue earning an indie living if the deal sucks. I also write relationship books and encourage creating an autonomous, satisfying life if you want a romantic partner who makes you happy. Then you can stay if you're happy - a winning situation. Or you can walk away if the relationship isn't satisfying if you have a good life on its own - also a winning situation. A satisfying life gives you control and prevents desperation from allowing you to be with someone not good for you. It's the same with a record deal. Working hard and generating a buzz for your music - one that allows you to earn a living - enables you to walk away from a bad deal or one that won't advance your career. Just like in romance, any deal isn't better than nothing. Labels take advantage of artists - when they can. Give yourself the clout to leverage a deal that works for you by developing a career that doesn't depend on a record deal. Then you have choices. Win/Win. Being able to say no to a label offer is the sweetest position to be in! The artists I interviewed for this book have been offered many deals but turn most down. A few accepted deals on their terms as I wrote this. In chapter 2, you'll see that most are open to the possibility of working with a record label. But it will be on their terms or they'll continue earning a living independently. Win/Win. When a label wants you more than you want their deal, you call more shots! Win/Win. The leverage of indie success allows you to partner up with a label instead of taking a straight deal. If you consider affiliating with a label, think in terms of a partnership. Labels now give artist development deals to artists they want and work with some as partners. These artists have more control over their creativity and marketing strategies. Win/Win. Refusing to take a deal unless it adds fuel to the career you've already established is the only way to go if you want longevity and satisfaction. Don't be scared to turn a bad deal down. If a label wants you, there will be more offers as your career grows. Artists who wait get more in the end. Fear makes us jump at things that aren't good for us. If you're convinced you need a label deal to survive as a musician, you probably won't have a career. People get abused in relationships that they take out of desperation, in romance and business. Be prepared to walk! Declare your independence! Stop looking to others to give you a career. Why be one of those musicians who whine about how no one has discovered them when you can be happily paying bills from music related income? Why spend time and money sending packages to record labels when you can be answering fan letters and booking gigs that pay? Put all your energy into creating income-earning situations for your music. I'll elaborate on many different ways to do this. It doesn't matter what your genre is. If your music is great, you can use the tools in this book to make a living from it. Successful indies are resourceful and create many revenue streams at once. CD sales alone might not pay bills but you can try licensing your music to film, TV, advertising or labels in foreign countries, tour in venues that pay, sell merch, win songwriting contests, tour Europe, and find many other alternative venues. Indies say this adds up to a decent income. It can take time to develop revenue streams. Independents need sources of backup income at first. This book provides options. While you'd rather perform your original music in front of adoring fans, performing for 200 people at a wedding or playing covers pays the bills and keeps your chops active. Most indies say it's better than having a day job that's not related to music. I found lots of ways to increase your income. I highly recommend that you read my other books to complement the info in this one. I'm not saying this to make more money. I tried not to repeat much in this one. Start & Run Your Own Record Label has more details on the biz end and specific directions on how to market and distribute your CD. The Real Deal teaches more important basic info, including specifics on creating a press kit and developing you as artist. This book has new details and resources. Since I also write about and teach personal growth topics, I've included some of that too. The industry can eat you up and spit you out. I want you to persevere until you have a sustaining career! Chapter 6 has details on how to hang in when things aren't going well. I have tools to build the confidence needed to succeed. The music industry isn't just about the music. You need to sell yourself, which can be hard. Asking for things is harder. And believing in yourself enough to push for the higher paying gigs can be the most difficult thing to do. This book has many ways to get over yourself and develop the confidence to go after what your music deserves. Since this is a survival guide, I also have details on caring for your physical health in chapter 8. I entered the music biz when I was teaching school and my students dared me to make a rap record, saying a white woman couldn't rap. I proved them wrong! After industry people ripped me off, I opened Revenge Records to teach the kids to use the energy behind anger to do something good. I released two rap records, got nicknamed "the rappin' teach," wrote songs that got on radio and experienced being an indie. Then I signed other artists. I got label deals for several and learned the industry hands on. After teaching workshops on starting a record label and artist development, I wrote books. I interview the best pros I can find to give you many perspectives and tools for succeeding. Then it's up to you to do the work. The biggest hustlers make the most money. Accidents rarely happen in this biz! You may think someone is lucky because he or she has more opportunities. Not! People create their own luck. The more you play live, the more people hear your music. The more people you meet, the more contacts you have. Everyone knows someone. We're all six degrees of separation. In the music industry, it can be no more than two or three degrees. So put on your best smile, get out there and meet folks! Wait until you have THE GOODS before putting your music out into the world. Throughout the book I'll emphasize the importance of doing whatever you can to be THAT GOOD. Make your music's wings strong enough to soar high and catch the eye of people who can make you the lucky one! The music industry is tough but it can be conquered. It's time that musicians establish a declarations of independence for creating a music career that sustains. I had no trouble finding indie musicians to interview. They may not be household names but they're happily earning a living without a day job. You CAN too. Allow me to guide you in developing a satisfying career that you control!
INDUSTRY PROS INTERVIEWEDI've got all of the main pros that I interviewed here. You can read all about the successful indie artists I interviewed here. Dalis Allen - producer for the renown Kerrville Folk Festival. http://www.kerrvillefolkfestival.com Alexei Auld, Esq. - Director of Education and Senior Staff Attorney for VLA (Volunteer Lawyers for the Arts). http://www.vlany.org Audrey Arbeeny - began in a band and now is executive producer of AudioBrain; was a Senior Producer/On-site Music Supervisor for several Olympic Games and has produced many high profile sports programs. http://www.audiobrain.comPhyllis Barney - president of Folk Alliance. http://www.folk.org Michael Baur - COO/CFO of Edel Music AG Germany, considered the major label of Europe. http://www.edel.com Michelle Bayer - owns Shelly Bay Music, and does publishing administration, some music supervision, and places songs in TV and film through her partner's company, Sugaroo!. http//www.shellybay.com http://www.www.sugaroo.com Danny Benair - founder of Natural Energy Lab, a music marketing company that represent labels and artists for film/TV and advertising. He was VP of the Film & Television Department at Polygram Music Publishing for eight years. http://www.naturalenergylab.com Gerald Berke, MD - an ear, nose and throat specialist, mainly a voice doctor for the last 15 years and Program Director for the UCLA Center for Voice and Medicine in the Arts. http://www.surgery.medsch.ucla.edu/asp/Clinical.asp?Clinical_Service=Voice%20and%20Speech%20Disorders Katja Bittner - Manager for Popkomm, an international music conference held in Berlin. http://www.popkomm.de Jim Black - began as a jazz saxophonist; now a music supervisor for studio and independent films. http://www.clearsongs.com Rob Blesma is export manager for Joan Records, a classical music label in the Netherlands http://www.joanrecords.com Jason Blume - has written songs for many artists, including Britney Spears, the Oak Ridge Boys and the Backstreet Boys and on Grammy nominated albums; teaches songwriting workshops and is the author of Six Steps to Songwriting Success. http://www.jasonblume.com Bobby Borg - was drummer for Beggars and Thieves, signed to Atlantic Records; played with the rock band, Warrant and wrote The Musician's Handbook. http://www.bobbyborg.com Todd Brabac - VP of Membership for ASCAP in Los Angeles and author of Music, Money and Success (more in chapter 9). http://www.ascap.com Jessica Brandon - heads Artists Relations for the USA Songwriting Competition. http://www.songwriting.net Tina Broad - manager for the band BROTHER. http://www.brothermusic.com Andy Burhenne - marketing manager for Metal Blade Records in Germany. http://www.metalblade.de Keith Cahoon - CEO of Hotwire, Inc. a music publishing company based in Tokyo. He was head of Tower Records in Japan for 18 years. http://www.hotwirejapan.com Brian Caplan, Esq. - an attorney with Goodkind Labaton Rudoff & Sucharow LLP. http://www.glrslaw.com Glen Caplin - independent film supervisor and consultant. Wallace Collins, Esq. - a music attorney in private practice, who is currently "of counsel" with the firm of Serling, Rooks & Ferrara, LLP specializing in Entertainment Law & Intellectual Property matters. http://www.wallacecollins.com Mitch Coodley started as a freelance guitarist; now is president of Metro Music Productions, providing foreground and background music to the film, broadcast, advertising, and corporate A/V industry and has a music library. http://www.metromusicinc.com Paul Corbin is VP of Writer/Publisher Relations for BMI in Nashville. http://www.bmi.com Julie Coulter - VP of MusicPro Insurance. http://www.musicproinsurance.com Zhang Dajiang - general manager of China Record Corporation in China. http://www.vip.sina.com Jeanne DaSilva - has done rights clearances and catalog promotion and currently does music supervision full time. http://www.vaultmusic.com Thomas Degn - label Manager of Nice and Firm Records (Bonnier Amigo Music Group) in Denmark http://www.bonnieramigo.com Eric Dimenstein - booking agent with Ground Control Touring http://www.groundcontroltouring.com Nick DiMinno - partner in Three Tree Productions, a music production company. He began as a working musician, has produced major label artists, and now creates music for advertisers. http://www.3tree.com Bernie Drayton - partner in Three Tree Productions. His advertising credits include Burger King, Sprite, Nissan, and many more. http://www.3tree.com Dan Evans Farkas - music editor for film and television. Ricardo Ferro - A&R at Zona Music in Portugal. http://www.zonamusica.pt Rey Flemings - president of the Memphis and Shelby County Music Commission. http://www.memphismusic.org Kim Frankiewicz - VP of International, Universal Music Publishing Group, UK http://www.umusic.com Mathew Fritch - senior editor of MAGNET Magazine. http://www.magnetmagazine.com Dick Gabriel - assistant to the president of the AFM (American Federation s of Musicians). http://www.afm.org Michael Gilboe - producer, engineer, songwriter, drum programmer and keyboardist of Copperheadz Productions. http://www.copperheadz.com Nic Harcourt - Music Director for KCRW, Santa Monica and also DJ of the very popular show, Morning Becomes Eclectic. http://www.kcrw.org Johan Hendrickx - managing director for 2 Brains Entertainment Group, a record label, management company and booking agency in Belgium. http://www.2brains.be Bart Herbison - Executive Director of NSAI (Nashville Songwriters Association International) http://www.nashvillesongwriters.com Clive Hodson - heads ABC Music, a record label connected with the ABC network in Australia. http://www.ABCmusic.com.au Steve Horowitz - a composer/sound designer, currently running the Audio Department at Nickelodeon Online, and does composing for games. Kevin Joy - president of Joy Productions, a high-tech music house; won numerous awards including the Clio, Addy, Mobius, and International Film Festival Awards over 20 years as a composer, producer, and advertising executive. (the late) Larry Kamm - was creative consultant to the YES Network (the NY Yankees) after being its coordinating director for years. http://www.yesnetwork.com Eric Kaye - creative director/executive producer for The Lodge, a songwriter and also part of the band, The Strines. http://www.thelodge.com Kevin Kinyon - runs Gigmasters, and online booking service for a variety of gigs. http://www.gigmasters.com JJ Koczan - editor of East Coast Rocker/Aquarian http://www.theaquarian.com Jodi Krangle - proprietress of The Muse's Muse, an organization/website for songwriters since '95. http://www.musesmuse.com Jan Kubicki - head of A&R, for Magic Records in Poland. http://www.magicrecords.pl Amy Kurland - owner/founder of the legendary Bluebird Café in Nashville. http://www.bluebirdcafe.com Eric Lambert - Executive Director of APCA (Association for the Promotion of Campus Activities). http://www.apca.com Alex Lasmarias - international Assistant for Discmedia International Records in Spain http://www.discmedi.com Henri Lessing - managing director for Media Records Benelux in Holland http://www.mediarec.nl Mario Limongelli - general manager for NAR International Records in Italy http://www.narinternational.com Borje Lindquist - President of Liphone Sweden. http://www.liphone.com Alex Luke - Director of Music Programming and Label Relations for iTunes. http://www.apple.com/itunes Tom Luteran - Creative Director at EMI Publishing. http://www.emimusicpub.com Sarah Mann - booking agent with The Music Garden. http://www.musicgarden.net Jim McGuinn - was program Director for WPLY 100.3 (Y100) FM radio in Philadelphia. http://www.y100.com Steve McClure - Asian Bureau Chief for Billboard. Iain McNay - chairman of Cherry Red Records in London. http://www.complete-music.co.uk Jim Merlis - president of Big Hassle Media in New York City. http://www.bighassle.com Gregor Minnig - director of A & R/VP of ZYX Music in Germany. http://www.zyxmusic.com Martha Moore - president of So Much Moore Media in Nashville. http://www.somuchmoore.com Rev. MOOSE - did college radio promotions and more through The Syndicate, now Editor in Chief of CMJ Music Report. http://www.musicsyndicate.com Nancy Oeswein - president of Auburn Moon Agency, a booking agency that specializes in colleges. http://www.auburnmoonagency.com Carl Parker - general manager of ToCo Asia LTD, a record company in Hong Kong that licenses music for Asian markets. http://www.tocoasia.com Kathy Peck founded H.E.A.R., an organization with resources for helping prevent hearing problems among musicians after being a recording artist with The Contractions, a national Punk/ New Wave band. http://www.hearnet.com Gena Penny books bands for the legendary Whisky-A-Go-Go in L.A. http://www.whiskyagogo.com Christopher Porter is editor of Jazztimes. http://www.jazztimes.com Martin Pursey - heads Bonaire Media, a publishing company in the UK. http://www.bonairemedia.co.uk Steve Richards - operations manager for Hot 107 in Memphis. http://www.hot1071.com Jorma Ristila - managing director of Stupido Records in Finland. http://www.stupido.fl Jorge Rojas - Executive VP of FreedomZone, a company that brings musicians together with Mountain Dew and AMP energy drink for promotions and support. http://www.freedomzone.com Lillie Rosenthal, D.O. Physical Medicine and Rehabilitation - a board certified physiatrist specializing in the treatment of musculoskeletal conditions including repetitive strain injuries at the Kathryn and Gilbert Miller Health Care Institute for Performing Artists. http://www.millerinstitue.org David Ross - publisher of Music Row, the industry magazine of the Nashville music scene. http://www.musicrow.com Joseph Saba - President of Video Helper; was keyboardist for Fabulon on EMI Records in 1993 and is now happier writing for and running his music library. http://www.videohelper.com Ken Schlager - executive editor of Billboard. http://www.billboard.com Mara Schwartz - director of Film, Television & New Media for Bug Music, a publishing company that collects mechanical royalties. http://www.Bugmusic.com Michael Sweet - with AudioBrain; his specialty is creating music for video games. http://www.audiobrain.com Ted Suh - Chief Marketing Officer of 9 Squared, Inc., a company that licenses music for many uses, including ringtones. http://www.9squared.com Yuko Suzuki - manager of business affairs for Avex Inc., a record label in Japan. http://www.avexnet.or.jp Tony Talbot - was chief executive for the Northern Ireland Music Industry Commission. http://www.nimusic.com John Taylor - entertainment director at the world famous Tootsies Orchid Lounge in Nashville. http://www.tootsies.net Pete Tong - internationally acclaimed DJ and producer with a very popular radio show on BBC. http://www.petetong.com Jim Tremayne - editor of DJ Times. http://www.djtimes.com Phil Tripp - founder of Immedia, an entertainment company in Australia, that has many online music resources and publishes a directory of the Australian music industry. http://www.immedia.com.au Jose "Chilitos" Valenzuela - founder of AudioGraph International and author of the Complete Pro-Tools Handbook. http://www.audiographintlstore.com Israel Vasquetelle - publisher of Insomniac Magazine and also has his own independent hip hop act. http://www.insomniacmagazine.com Billy Joe Walker - owner of Marathon Productions/ Marathon Key Music; produces top artists, including Travis Tritt. Michael Whalen - an award-winning composer for TV, advertising & films. His emmy-award winning music can be heard on over 350 television and film projects as well as thousands of national advertisements, including the theme for ABC's "Good Morning America." http://www.michaelwhalen.com Brian Austin Whitney - founder of Just Plain Folks, an organization of artists and industry professionals. http://www.jpfolks.com Matthias Winckelman - managing director of Enja Records, a jazz label and publishing company in Germany. http://www.enjamusic.com Stewart Winter is a composer and co-founder of Video Helper, a boutique production music library. VideoHelper's music is heard on all networks, and cable channels, in dozens of movies and many significant TV spots, including the theme music for 20/20. http://www.videohelper.com Peter Wohelski - project manager for Studio Distribution a national and international distributor. http://www.studiodistribution.com Sun Xiangyan - general manager of Logistix, a marketing and promotions company in China. http://www.logistix.com.cn Rick Zeiler - director of marketing brand development at Jagermeister. http://www.jagermeister.com |
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