With the recording industry already reeling from plummeting sales, termination rights claims could be another serious financial blow. Sales plunged from $14.6 billion to about $6.3 billion over the decade ending in 2009, in large part because of unauthorized downloading of music on the Internet. This has affected new releases especially, which has left record labels disproportionately dependent on sales of older recordings in their catalogs.
“This is a life-threatening change for them, the legal equivalent of Internet technology,” said Kenneth J. Abdo, a lawyer who leads a termination rights working group for the National Academy of Recording Arts and Sciences and has filed claims for some of his clients, who include Kool and the Gang. As a result the four major record companies — Universal, Sony BMG, EMI and Warner — have made it clear that they will not relinquish recordings they consider their property without a fight.
“We believe the termination right doesn’t apply to most sound recordings,” said Steven Marks, general counsel for the Recording Industry Association of America, a lobbying group in Washington that represents the interests of record labels. As the record companies see it, the master recordings belong to them in perpetuity, rather than to the artists who wrote and recorded the songs, because, the labels argue, the records are “works for hire,” compilations created not by independent performers but by musicians who are, in essence, their employees. Here again, greed rules the music industry!
The Recording Academy was recently referenced in a New York Timesarticle about the looming issues related to copyright termination. Since its testimony at a Congressional hearing in 1999, The Academy has been active in protecting music creators’ rights to regain ownership of their copyrights. Because 2011 is an important year for filing termination notices for some works, it is important that Academy members understand this critical issue.
Under the Copyright Act, authors (and their statutory heirs) may terminate certain transfers of copyrights that were effected in 1978 and after on the 35th anniversary of the transfer (although in some circumstances, different time frames may be applicable). Transfers of sound recordings and musical compositions are among the classes of copyright transfers that may be terminable. An author's right to reclaim ownership of his or her copyright(s) is optional and must be exercised in accordance with strict notice provisions and within strict time limits. If you are the author of sound recording(s) and/or musical composition(s) that were transferred to third parties, it would be advisable to contact your attorney or other advisors to learn more about this important topic.
So you got your new CD and you're ready to get it out. The first move most people make is to get their songs on iTunes. Guess what, you and everyone else who has a project is doing the same. There are over 6 million songs on iTunes. Here's some more random facts:
- 65,000+ podcasts (USA) - 10,000+music videos(USA) - 350+ TV shows (USA) - 20,000+ audiobooks (USA) - 14 iPod games (USA) - 500+ movies (USA
Do you get it? If you're trying to sell your song, the odds are 6 million to one. Whoa!!!! The reason most people fail is simply this. They put their songs up and wait for the checks to start coming in. What a fairy tale! Another reason people fail is, they're so emotionally attached to their music they believe the world is going to fall at their feet. The truth is, there is more junk than music on iTunes. So what do I do? I'm glad you asked!
First have a plan. No plan no money! No Money no way! So what if I have no money? Then you need to make up the difference in passion and hard work. The degree of your passion and hard work will determine how successful you will be. There are many ways to promote your product, I wish I could get to them on this blog. I just don't have enough ink!
For now use Google to research marketing techniques. Enlist those who believe in you to become part of your team and work work work! If you have no funds that's about it. Try to raise funds. If you already have funding good for you. Most don't.
It has come to our attention that satellite broadcaster Sirius/XM is seeking to bypass the standard system of paying royalties. If they are allowed to do so, it will likely result in substantially reduced payments to artists and producers, a lowering of the value of performance royalties, and unnecessary conflict between artists and their labels.
What’s the issue:
Currently, satellite radio pays sound recording performance royalties to the nonprofit collective SoundExchange, which in turn pays 50% to the artists on the recording and 50% to the copyright owner (usually a record label). SoundExchange pays the artists the full 50%, even if the artist has unrecouped royalty balances, and also pays producers their share as directed by the artist. The system has resulted in an important new income stream for creators.
Sirius is now seeking to use the option of direct licensing with certain independent labels instead of using the system created by Congress that ensures fair payment to all parties. Artists should be concerned about direct licensing; 100% of the royalties would be paid to the record label which in turn may pay artists at a lower rate, subject to recoupment. And labels should be concerned as well; the lower rate being offered could have the effect of lowering the value of performance royalties to all parties.
What you can do:
If you are an artist signed to the independent label…
You can call your label today and request that it not direct license your recordings. In the interest of fairness and transparency, your label should continue to license through SoundExchange.
If you own or manage an independent label…
It is in your interest to refrain from direct licensing. While Sirius may be offering positive terms, the long-term effect of accepting a rate lower than the compulsory rate could be to reduce rates overall in the future. Creating downward pressure on the value of music may be good for Sirius/XM, but it’s bad for artists and labels. Please see the following statement from the American Association of Independent Music:
Can it get any better? I say that every month. This months lineup once again was off the chain! Beginning with Co - Host David Huff of David and the Giants with 17 albums to their credit and David with 5 solo projects. David's sincerity and talent blew us all off the stage. He ended the night with a song he wrote for his son that had us in tears. Casey Darnell, recording artist and worship leader at Northpoint Church blow us away with his cutting edge contemporary stylings, while expressing his love for God and family. A true professional and man of God! Then Marvin Mumford came to bat and knocked a home run with his soul filled contemporary music saturated with a guitar style of his own that was hypnotizing to the heart. Three great musicians, three great men of God. We at AMP cannot express how much we appreciate
If U2 and Chris Tomlin were in concert on the same night, who would have the most Christians at their concert? Sadly for the Christian community, the answer is U2. I'm in no way saying not to support your favorite secular group; this is just an example. There is story after story where concerts are canceled or the turn out was so poor everyone involved lost money. I'm not attempting to guilt anyone into supporting Christian music! Hopefully you will be convicted in your heart to support your local groups as well as national ones.
One of AMP's strong desires is to create awareness and provide venues for all of the talented musicians in the Christian music industry. We are losing young talented Christians to the secular market place due to the lack of support from the Church. Remember we are the Church, it must start with us! Lack of interest = lack of opportunity = lost talent. So what do we do? I'm going to give you some suggestions. Be creative!!!!
Offer a weekly or monthly venue at your Church. Too many Churches are closed and not being encouraged to use their capacity. Are we getting lazy? Complacent?
Support your local musicians by attending their shows and buying their CD's!
Donate to their ministry. Remember music can minister to people just as much or more than any other ministry in your Church!
Encourage them. This is a tough business. We lose many to discouragement.
Pray for them.
God loves Holy music; Let's show him we do too!!!!!!!!!!
So you think you can do it on your own? Really? No joke? Interesting. So did Amy Winehouse, Jimmy Hendrix, Janis Joplin, Hank Williams, Kurt Cobain,- need I go own? When I hear someone one say they're in control-- what I hear is, their ego is in control and they're headed for a crash. How do I know that? You see, there was a time in my life when I didn't have God in my life and I crashed and burned. My career was going great and I was on the top of the hill. Eventually I rolled down that hill and hit a big rock. That rock was my ego.
This thing we call the music business is like a 3 headed cyclops waiting to devour your heart and soul and eventually your life if you're not grounded. You can not ground yourself. You must have God. Let me repeat-- you must have God in your life? You only have to look at the history of the music business and see the devastation it has had on the lives of many gifted musicians. The demand on your life in this business is overwhelming if you don't understand the importance between God, Family and Career. Please listen to an old guy who learned the hard way. We at AMP truly want to walk with you on your spiritual journey as well as your music career.
Here are some of the ways we suggest to get ready and grounded for a prosperous career and a happy and full life as you take this journey.
1.PRAY
2.READ YOUR BIBLE
3. FIND A CHURCH
4.SERVE AT YOUR CHURCH
5.GIVE BACK AND SERVE OTHERS
6. PUT OTHERS BEFORE YOURSELF
7. HELP SOMEONE ELSE ACHIEVE THEIR GOAL
8. STRIVE FOR EXCELLENCE IN ALL YOU DO
9. REMEMBER YOU'RE WORKING FOR GOD
10. ALL YOU DO, DO IT TO GLORIFY GOD
If you strive for these 10 suggestions you will not believe the peace, happiness, fulfullment and success you will achieve. Also your definition of success will change as you begin to build a relationship with God and glorify him in all you do. My name is J. Grady and I approve this message!!!!!!!!!!
The evening started off with everyone being early. Wow!!!! Co- Host Brian Stephens came in and was loaded for bear with informative answers to questions that anyone interested in the music business could glean something from. His ability to ask questions of the writers was impeccable . We look forward to having Brian back as a Co - Host in the near future. Josh Vickery came in with 2 heart felt country gospel flavored songs that had to be rendered from the heart. With the combination of his incredible voice and his ability to convey this to his audience, we were all touched and blessed to be sitting on the stage with him. Luke James closed out the circle with a very strong and stylistic approach to contemporary Christian music that can not be challenged. His strong vocals and song -writing abilities should propel him to the top of the industry.
As Josh shared his story of accidentally shooting himself in the temple with his fathers gun when he was nine years old, he had everyone in tears. Josh survived a wound that only seven percent of the people in the world survive from . God is truly with him and has a plan for him. I have a sneaking suspicion it's gonna be ministering to people with his music.
One of the truly warm moments of the evening was when Luke shared the importance of putting family ahead of his music career. Josh has 5 children and another one on the way. He talked about the balancing act of career and family, always putting family first. A noble man with a talent that will take him as far as he wants to go.
Thanks to all the guests and for their dedication to God and for supporting AMP and AMPTV. Check us out at myamp.org and view the show at justin.tv/amptv
Written by J. Grady Pres. and founder of AMP the ASSOCIATION OF MUSIC PROFESSIONALS.
This information is based on the opinion of the Library of Congress. While I can't debunk it, I can give you an experiential point of view. When I was in Nashville we never had a song copyrighted until it was going to be cut. We registered our songs with a Performing rights organization, such as SESAC, ASCAP or BMI. While we have never used the poor mans copyright, I have seen 2 cases won by writers using that message along with a paper trail. We will be teaching more on this subject soon at myamp.org
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Copyright protection of your work by mailing a copy of it to yourself, then retaining the sealed, postmarked envelope as proof of the date of your authorship.
Origins: Copyright is the exclusive right to copy a creative work or allow someone else to do so. It includes the sole right to publish, produce or reproduce, to perform in public, to communicate a work to the public by telecommunication, to translate a work, and in some cases, to rent the work.
You establish your copyright the moment your work is created and fixed in a tangible form. While you need not register your works with the United States Copyright Office to establish ownership of your intellectual property, you will have to register such items if you wish to bring a lawsuit for infringement of a U.S. work. (The fees for such service are laid out on this page.)
As to why to register your works if they are already under copyright from the moment of creation, the United States Copyright Office says:
Registration is recommended for a number of reasons. Many choose to register their works because they wish to have the facts of their copyright on the public record and have a certificate of registration. Registered works may be eligible for statutory damages and attorney's fees in successful litigation. Finally, if registration occurs within 5 years of publication, it is considered prima facie evidence in a court of law.
Mailing one's works to oneself and keeping the unopened, postmarked envelope as proof of right of ownership to them (a practice known as the "poor man's copyright") has no substantive legal effect in the U.S. We've yet to locate a case of its use where an author's copyright was established and successfully defended in a court of law by this method. At best, such mailings might serve to establish how long the author has been asserting ownership of the work, but since the postmarked-and-sealed envelope "proof" could be so easily circumvented, it is doubtful courts of law would regard such evidence as reliable.
I’ve heard about a "poor man’s copyright." What is it?
The practice of sending a copy of your own work to yourself is sometimes called a "poor man’s copyright." There is no provision in the copyright law regarding any such type of protection, and it is not a substitute for registration.
However, the U.K. Patent Office has this to say on the subject in its "Claiming and Enforcing Copyright" FAQ:
How can I prove originality in my work?
Ultimately this is a matter for the courts to decide. However, it may help copyright owners to deposit a copy of their work with a bank or solicitor or send a copy of their work to themselves by special delivery (which gives a clear date stamp on the envelope), leaving the envelope unopened on its return; this could establish that the work existed at this time. (Further details of special delivery should be available at Post Offices).
Careful readers will have noted the "may help" and "could establish" in the above entry.
Brad Templeton's page about copyright myths addresses eleven other misapprehensions about copyrights. (Yes, his page is titled "10 Big Myths About Copyright Explained" but there are eleven items listed on it.) Also check out his "Brief Intro" to copyright to further expand your knowledge of the topic. (Trust me; it's painless.)
Here's where the money starts going away for the Artist. It is a complex diagram of the proverbial piece of the pie. Let's begin. In the past it always began in the center with an upper tier of deep dark money crevices beginning with the record label in the center. Keeping in mind, through this upper tier the record label is eating the largest piece of the pie. From there it goes to the Artist, from the artist to the manager to the biz manager to the attorney back to the label to the producer back to the label to the publisher always back to the label. That's just the top tier. Are you confused yet? Believe it or not this is an over-simplification of the money flow. I am just trying to help you see the money flow.
The good news is this is changing and changing fast!!!!! I encourage you don't miss the bus. The digital age is here. If you don't get on it you will be stuck in the same place losing thousands if not millions of dollars. I hope you will come join us as we ride the wave of the digital age. A wave of more profit, more freedom, and as an artist an unlimited creative exploration. There are no excuses now if you have the talent and the willingness to learn and do the work. Remember talent + passion+ hard work = success. Come join us at AMP as we take this journey together.
As we enter into a new phase at AMP TV our shows get better and better. We are learning lots of things to-do to improve on the production to make it better for you. We're excited as we grow into a show that more and more viewers are coming to enjoy. This was our third show. The first month we had just over 1000. viewers. As of now we are over sixty seven thousand and growing by the thousands each week. STAY PLUGGED IN IT'S JUST GETTING BETTER!!!!!!
Our show last month was incredible. It began with Bruce Burch. Bruce has a wealth of experience, far reaching into the depths of the music industry. An accomplished song - writer with several # 1 hits by Reba McIntire and many charted songs by various Artists over his career, he is also on the National Board of Governors for the Grammy's as well as the director for the Joel A Katz music business and entertainment school at Kennesaw State University. He will be Co-Hosting again very soon. Then there was Ashley Harris, a very strong writer, singer and owner of the Ragamuffin music hall in Roswell GA. Back by popular demand was Josh Blevins singer, songwriter, artist. What a talent!!!!! Then our special guest from Nashville TN, John Starnes. John is a consummate pro who has recorded 40 albums, was the featured tenor for Jimmy Swaggart during his formable years, performed on the Gaither homecoming tour, and much more. John will be back as a Co-host in a couple of months. John also has a prison ministry called Timothy's Gift. timothy'sgift.com
This was a very entertaining, fun and informative show!!!!!!!!!!!!! We look forward to seeing you at our Sept 15th show. If you can't make it to the live show; Good listening! Here's a link for info --
I was very fortunate to learn from the best in the industry while growing up in the business in Nashville. So here are a few musts: Originality, Appearance, Commitment, and my #1 qualification, Passion! I am going to give you a few very common sense do's and dont's when talking to or visiting either an A&R person or a record executive.
1. Hygiene. Dress for success! They are looking at you! Their first impression may be the last if you're not dressed for the part.
2. Have a plan. If you don't know where you're going, how can you expect them to?
3. Know your interviewer and the label roster. Showing them you're interested in them will go along way. There's a lot more to your art than the music. This will show you're a well rounded Pro.
4. Have at least 3 songs ready to perform live as well as multiple CD'S. If they're interested in you they will ask you to perform for them and will want to have copies of your music to pass around to the A&R department.
5. Have someone with you to represent you. You need to have a representative with you that understands the business, and can promote you and ask questions that you can't.
As simple and obvious as these may seem, you would be surprised how many people we met with that came to possibly the most important meeting of their life, and blew it.
If someone came in for review we would probably ask "Who do you sound like?" and if their answer was -(example; Garth Brooks) our response would probably go something like this: "Well that's nice, there's already a Garth Brooks-- NEXT!!"
You must be yourself. Don't ever try to be someone that's already out there. You must find your own niche.
Here's another question I would always ask. How long do you plan on pursuing your career? If a limit was put on this question, that tells us a lot. The correct answer is as long as it takes. This is a tough business and it can easily take years to launch a career even after signing a deal. The Artist I know and respect can't quit even if they want to; it's in their blood. Enjoy the trip, because you will find out at the end the destination was not what you were after. Sharing your gift with others is where you find true joy.
When I was working in Nashville, a group of around 10 to 15 of us would meet for breakfast at Shoney's on Music Row. We consisted of major label executives, writers, publishers, A&R executives, etc. At the same time, there was another group meeting in the back. These were the guys waiting on their prey to get off the bus while greeting you with a big friendly smile. While promising you stardom, they were all the while hoping to slip their hand in your pocket. Well, these guys have now switched from the Shoney's breakfast club to the world wide web cafeteria.
Caveat Emptor
There are some reputable web services out there on the web, and AMP can help guide you through the maze of land mines in the hope that you will arrive at your destination safely. We have learned through many hours of research that seemingly harmless offers often turn out to be cons. There is no way I could list all of the culprits here. So, what I will attempt to do in this article is point out some of the more glaring types of scams:
The "Song Contest" sites. While there are some legitimate ones out there, most are scams to get your money. Be careful, and and speak to a company representative before signing up.
Sites that promise to get your songs cut.
Over-the-web demos. While there are many great studios that can do this, you really need to be in the studio while your song gets recorded. Your songs are your baby, your creation, and you want to be there from inception to birth.
Offers of publicity deals, selling your songs, making you a star, tour support, booking, etc.
This list goes on and on and there are many variations of each theme. Please do your homework and research the sites carefully before forking over your hard-earned cash!
Check with the Better Business Bureau and don't take everything at face value. Ask questions like, What service am I getting? Are the sites truly offering valuable services like artist mentoring or artist education? What's the potential value / return on my investment? Are the sites endorsed by reputable industry organizations like AMP, the GRAMMYs, SESAC or others?
Always remember, like the predators on Music Row, a lot of sites are geared to prey on your emotions and dreams just to get into your wallet. Don't base your decisions on your emotions. Do your homework!
"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." --- Hunter S. Thompson
The record business is quickly dying. Music sales in the United States are less than half of what they were just a decade ago. Worse yet, sales will almost certainly continue to drop as digital distribution becomes more popular.
In response, record labels are completely changing the structure of their contracts with artists. The labels' present direction is to capture revenue streams beyond the sales of recorded music. And, in hopes of returning their corporate earnings to where they once were, the labels are attempting to completely cut out promoters, artist managers, and agents.
Since the dawn of the industry, the role of a record label was limited to producing, distributing, marketing, and selling recorded music. Under the new model, labels receive income from other sources of artists' earnings, including live performances, merchandise sales, publishing, and commercial endorsements. The new contracts are known as “360 deals" or “multiple rights deals". They enable record labels to earn income that was never before available to them, making the labels less reliant on recording income.
The 360 model is only sustainable if it benefits both artists and labels, while providing a desirable product to music consumers, and efficiency to the industry as a whole. And, herein lies the problem with the 360 paradigm. While the new model may work for artists with superstar personas, it will not be acceptable, long-term, for most artists. Not to mention promoters, managers and fans alike.
Despite the growth of the 360 model, the structure is objectively harmful to the industry. For starters, most labels are proving themselves inept – or at best, inexperienced – at managing the other elements of an artist's career from which labels stand to profit under the 360 model.
360 Deals also seem to be leading to an ominous new trend. The model's focus on exploiting as many revenue streams as possible has brought about a trend known as “band branding" which removes the emphasis from musicians' music and redirects it towards artists as “brands” that can be sold in a variety of forms. As media theorist Douglas Rushkoff noted, “Recording artists are finding the only way to achieve any financial safety is to become a lapdog of the great corporations.”
Despite the negative aspects of 360 Deals, artists will continue to form these contracts over the short term simply because labels remain the primary source of venture capital for artists. Eventually, however, the majority of artists may forego traditional record labels altogether.
Instead, they may seek 360-style arrangements with more adept and efficient industry players like managers and booking agents. In fact, a handful of savvy artists have already begun to steer their careers themselves by taking advantage of digital distribution, leveraging internet marketing tools, and actively networking to promote their own music. Eventually, this may spell the end of the major labels altogether.
So what do you think? Are 360 deals bad for the industry as a whole? Will the major record labels eventually fade away? Will artists eventually manage their careers themselves? We want to hear from you!
I can't tell you how many people I have had say to me, "I wish I could write a song, but it just doesn't work for me." Well, it won't work for everyone, but it will work for a lot more potential writers than you think. Another question is, "Do you have to be inspired to write?" If you're writing professionally, the answer is no. If you're writing for inspiration, it depends on if you want to write professionally or for a hobby. Hopefully you will find a passion for writing and want to take it all the way.
I'm going to share with you the most important secret to getting your song on paper, whether you're inspired or not: Writing "to the hook" is a trick the pros use. When you're a staff writer with a quota you must have new ideas weekly. You may ask how do I do that, and what is a hook?
A hook is a lyrical phrase that your listener will remember even if they don't remember the lyric to the rest of the song. Such as "Momma don't dance and Daddy don't rock in roll", "Stairway to heaven", "Girls just want to have fun", etc... You must learn to write to the hook to be a successful song-writer!
Start a hook book. This is a place you store catchy phrases that your listener can latch on to.
Write to the hook. This means all your lyrics must point and lead to the hook.
Get feedback from others.
Of course, this advice just scratches the surface. However, I hope this will give you some tools to get you started writing your first hit single!
There are a lot of opinions on this topic and no one knows all the answers. It is subject to many variables. I can give you some of the things I learned as a staff writer for many years. This won't be an exhaustive list but it will help you get started.
1) Remember you're writing to 5th graders.
2) You must have a good memorable lyrical hook.
3) It also needs to have a musical hook that doesn't sound like everything else on the radio.
4) Be original!
5) Try to keep the song as close to three minutes as possible.
6) Get rid of throw away words like buts and I's etc...
7) The topic needs to be relatable to your audience.
8) Keep it interesting.
All of these sound simple to do but there is a lot more to song-writing. This is a good place to start. At AMP our goal is to take you as for as you want to go as a writer. Come join us and let us walk you the art of song-writing. myamp.org
So you think you have what it takes to penetrate that impregnable wall in music land? What if I said forget it? Keep your day job! You may be thinking what a jerk! You may be right. I can't count how many times people told me that on my journey. There was one person who always believed in me. That person was me. If you don't believe in yourself there's a good chance neither will others.
My belief is this; if you've truly got the gift you can't stop. It's in your heart, your soul and your bones. When GOD GIVES US GIFTS, He does not base it on what other's opinions are. If you got it, claim it, own it and use it. God will do the rest. There is no doubt that at times you will be discouraged, but you can't allow that to stop you if you truly believe in yourself. Remember there are no great people just ordinary people accomplishing great challenges. Three words--Grow thick skin. Do not listen to the nay sayers, listen to the yea sayers!!!! So when you're about ready to give up remember this -- Don't stop before the miracle happens. It could be the miracle was waiting on you 5 minutes later.
So you want to be a writer, maybe an artist, even a producer or publisher. What's your plan? Do you even have one? I'm sure you've heard the proverbial statement, (putting the wagon before the horse). Where is your horse? There's a myth that runs around the music business that says all you have to have is talent. If you believe that, let me know how that works out for you. Those days are gone. Actually they never existed. Yes some have gotten lucky. Would you prefer trusting luck, or having a well thought out plan? Have you ever heard the harder you work the luckier you get? Well, it's true!
One reason most people don't have a plan is they don't have enough information to form one. Knowledge is your ally. At AMP our goal is to create a custom business model for you so you can focus on your craft. We need to hear from you so we know what you need, not just what we think you need. Here is your opportunity to be a part of your success and to take action in your future! Come join us at AMP and partner with us in your career at myamp.org
You can't handle the truth! A quote by Jack Nicholson from the movie A Few Good Men. Can you handle the truth? I can't tell you how many times I'm asked the question, how do I get my songs heard? Are you ready for the truth? Not only is it tough, it's extremely tough. Why, you may ask? First of all there are literally thousands of writers and some of them with hundreds of songs trying to do the same thing you are. Then there's only a limited amount of publishers and producers etc. listening. So why even bother?
You have to ask yourself, are my songs good enough or could they be? I hope you answered yes. And if you did I have some good news. It is just as possible for you as it was for anyone else before you. First your songs have to be very good. Then you have to be willing to do the work to get there. If you're not willing to do the work to get there, don't even bother; it won't happen.
More good news!We are working very hard to develop a program for you to to make that happen. We will be launching our new website very soon. Stay tuned. For now check out our monthly web TV show -- at justin.tv/amptv
There are three kinds of people in this world: Those who make things happen, those who watch things happen, and those who wonder what happened after it happened. Which one are you? Oh yeah, then there is the lazy, the kind of lazy, and the workers. I hope you're getting my drift.
Somewhere along the line, there has become a misconception that being in the music industry is a way to get out of plain old putting your nose to the grindstone work. This is so far from the truth that it hurts.
Let's talk about networking, which is the single most important thing you have to do after you've developed your talent. If you want to be a success in this business, you need to roll up your sleeves and get busy networking. If you don't do this one thing you are doomed to failure. You've heard the term six degrees of separation? Well it's true. So who do I network with? Simple answer- everyone! You never know who the next person you network with may introduce you too. It just may be the one that changes your life.
At AMP we are driven to helping you learn how to network. Come join us for our live web TV show or click on justin.tv/amptv to watch the show and learn more.
If you're interested in the music business, this is an important statement from the GRAMMYs. We all must stay on top of what is going on in the business. Be a part of the business! Join the GRAMMYs; it's an important part of the music business. We at AMP endorse this message. J. Grady, president and founder of AMP and amp TV. Watch AMP TV at -- justin.tv/amptv June 22 Click on link to hear messagewww.grammy.com/announcement
Is the ART of music lost???? Absolutely not! However, there is the money machine driving the prefabricated commercial pod auto-tuned synthesized sound that is making millions for them. We know who they are; right? This money driven machine makes it nearly impossible for the true artist to get a break and be heard by the masses.
Now we have to ask ourselves, where are we in this picture? Then do some serious soul searching and ask, why do we create music? Is it for fame, fortune, or for the Art? If you answered the first two, you are a true blue member of the machine. There's nothing wrong with that, this exercise is just to help you find your place in all the madness.
Remember there will always be Art in music and it has nothing to do with mass appeal or what others do. We should not begrudge or become jealous or resentful of the machine. Just remember this ART comes from the heart, not the wallet. J. Grady Pres. and Founder of AMP The Association Of Music Professionals.
I can't begin to tell you how many calls and emails I've received over the years where writers are looking for a way to get their songs heard. Don't take this the wrong way, however most writers I've met don't have the drive to do what it takes to get out there. That's not a bad thing; that's just the way it is. Another thing I get is -- I've written several songs can you pitch them for me? Sure, send me all you've got. WRONG!!!!! sSo what do I do then?
AMP is working very hard on what I like to call the Unsigned Writers Holy Grail. It's called Nashville-in-a-Box, which is a virtual publishers, producers, and record label's music row. For now, you have to do it the old fashioned way: network, network, network. Another tool we are developing is AMP street. This is where you will have access to networking with literally hundreds of writers and artists like yourself when you become a member of AMP. We are endorsed by the Grammy's and many other professional groups. If you're serious, you have to invest in your career, both time and money. No one is going to do it for free. Let us help you; come join us at www.myamp.org and evolutionofasong.blogspot.com and justin.tv/amptv and learn who we are. Get plugged in!!!!!!!!!
Navigating Digital Distribution: Mysteries Revealed" posed the question, “What’s the upload?” The digital landscape has opened up tremendous, previously unthinkable opportunities for artists to get their work out into the marketplace, but the roads through that landscape can be tremendously confusing. This panel brought together entrepreneurs and experts in the field of digital distribution, all of whom offered unique insights, advice and angles on how an artist can best move from hopeful upload to registered sale. The panelists included Kevin Arnold, founder and CEO of comprehensive digital music service IODA; Jeff Price, founder and CEO of digital distribution company TuneCore; Derek Sivers, founder and president of Web-based indiemusic seller CD Baby; and Bruce Taylor, VP of marketing and PR of SNOCAP Inc., a service that allows artists to set up their own Web-based stores. The panel was moderated by Eric Garland, CEO of BigChampagne Media Measurement, which provides analysis on issues involving the intersection of entertainment and technology.
"Unsigned And Making It" discussed the gloominess in the industry generally stemming from the fact that traditional industry business models are in a period of uncertain transition. But if the old models aren’t working, what about some new ones? There’s more music being created, and listened to, than ever before and artists are increasingly exploring new ways to get their songs heard. This positive view of the shifting musical landscape was enthusiastically addressed by Danny Benair, ex-punk/pop drummer, former music publishing exec and current chief of music placement service Natural Energy Lab; music supervisor extraordinaire Alexandra Patsavas, whose Chop Shop Music Supervision company works with such hit TV shows as “Grey’s Anatomy,” “Rescue Me,” and “Without A Trace”; Tommy Tallarico, composer, video game industry icon and founder of the Game Audio Network Guild; and Adam Merrin and Keith Slettedahl, members of up-and-coming indie rock band the 88. The discussion was moderated by producer/engineer Mike Clink, whose much-respected work with artists such as Guns ’N Roses, Aerosmith and Metallica qualified him to lead a discussion on non-traditional approaches to musical career-building.
The next burning question on everyone’s mind is “You’ve got your music online, now what?” The latest panel in the series will bring together the marketing and PR experts to help you figure out how to get your music heard. Panelists will include Brooke Burt, co-founder and publicity director of Indigenous Promotions; Nathan Hoy, vice president of music of ReverbNation; Anne Litt, KCRW-FM DJ and music supervisor; Brad Barish, Head of Operations at Topspin; and Jeff Varner, artist manager, the Collective. This stellar panel will be moderated by Carmen Rizzo, two-time GRAMMY-nominated engineer, producer/remixer/musician.
Join us for what is sure to be an informative, enlightening discussion on June 23, either in person or live on GRAMMY365.
