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Friday, December 31, 2004

Musicians: The Latest Updates at Artistopia.com (WOW)

ANNOUNCEMENT:

Just added to Artistopia, recently launched Beta version of the Newsletter Editor, which is temporarily available to ALL membership plans. You can create a customized Newsletter to keep your fans abreast of the current news on your music, events, tours and happenings.

AND the Professional Indie Plan is now a ONE-TIME FEE for life!!! You get all of the functionality of Artistopia and you have an online musical home FOR LIFE!!

And there is much to be added in the coming year, so get onboard today!

On a tight budget? Check out the FREE Indie Plan!

To give you an idea of the services provided, here is a sampling:

Marketing Tools
Comprehensive music artist profile
Music album listings and song uploads
Event and gig listings
Industry experience listings
Formal education / training listings
Online links for additional references
Publish press releases
Submit professional press kits
Profile search engine inclusion
Reciprocal member profile marketing
Publish newsletters with your own ads

Productivity Tools
Press kit builder with professional layouts
Receive and approve press kit requests
Single communication point for all interaction
Email alerts on messages received
Maintain a fan base with artist fan list
Unlimited classified ad postings
Address book with running entry logs
Extensive directory of music resources
Access your account globally 24x7
Online music artistry and instrumental lessons

Community Development
Dedicated member support staff
Maximum privacy protection
Receive internal and external messages
Discussion boards and forum threads
Events and gigs calendar
Real-time and all-time music charts
Latest music industry news service

Advanced Technology
Content and feature rich Website
Eye pleasing and user-friendly interface
Architecture lends feature scalability
Optimum backbone for surf speed
Multiple servers for processing horsepower
Daily backups and failover redundancy
Technology built by reknown experts

And much, much more is under development to help the artist achieve their goals and broaden their horizons...(online webcasting and full indie CD sales service, for example)

Artistopia The music place to be seen and heard.

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Wednesday, December 29, 2004

'Financial Management for Musicians' Author Offers Tax Tips (Part I)

'Financial Management for Musicians' Author Offers Tax Tips (Part I)

By Doak Turner,

The Songwriters Guild of America Nashville Office recently hosted a tax and accounting seminar with Certified Public Accountant Cathy McCormack of Nashville, TN. Cathy McCormack is co-author of the book, "Financial Management for Musicians," (Hal Leonard) by Pam Gaines and Cathy McCormack. Many of McCormack's clients are musicians and songwriters. "Financial Management For Musicians" is the title of the book, but she says it is really more about organizing your financial life for what she calls this business of music. Below is a summary of her presentation:

Cathy McCormack Let's talk about the myths of money management and audits, to start the event. The definition of a hobby has several factors, and includes a test to determine whether there has been a loss in three of the proceeding five years. That is just one of the criteria in determining whether or not you have a hobby. A hobby can exist with respect top raising horses, painting, writing or anything that you can get involved in. They could be considered a business or a hobby. There are a lot more criteria to consider, and one important and significant issue is whether you have intent to make a profit.

Most people who launch into something that takes eighty percent of their time obviously have a profit motive. Your job is to prove that you have a profit motive and to keep good records to show how much time that you spend on the business. The time issue is extremely important. Keep your calendar in outlook or a manual calendar or on post-it notes, whatever that you do to document your schedule. It is one of the leading ways to prove that you have spent substantial time in trying to produce profit.

[Question] Should you keep track of time and expenses after your first two years of losses?

Cathy McCormack This is something that you should have for every year you are in business. When people first start to write, they do not think of it as a business so they don't track time or expenses very well. Some people knew from the minute that they are born what they wanted to do and immediately launched into it. When people get started in songwriting and have a different career "day job," they tend not to keep good records. Then they hear they cannot take losses for three years in a row, so they do not even bother with keeping the records.

I encourage you when you first start writing songs to keep track of your expenses, keep a good calendar, and track of everything that would help your accountant to support what you are doing for your songwriting career. You can show losses your entire life. Many people fear of getting audited and will not deduct their expenses. Don't lose opportunities for fear of the audit myth. Take your losses every single year.

I have had clients get audited because they have taken losses over a period of years. I represented them, proving profit motive and everything was fine. Two years ago a client was audited. He has a studio in his home, has been writing all his life. He has a wife who has made money and she off set her income with his losses. He had a big hit and is going to start showing substantial profit, which solidified the fact that he is a writer with profit motive. In addition, he had a calendar and sufficient data to show that he spent his life trying to launch this business.

There was a court case about ten years ago with respect to a painter that was audited and the IRS agent ruled the painter had a hobby. The painter had very good records; they went on to tax court and the painter won, as the judge ruled it was a proven fact that many artists did not become famous until after they died. (Laughter in the room.) One time is all it takes to put you on a map after all the years of working toward that goal. That court case has been used several times in the music business and other creative industries.

[Question] So you are saying that you need a calendar to prove a profit motive?

Cathy McCormack You need a calendar to prove the amount of time that you spent on your craft.

[Question] Is there a minimum amount of time to prove you had a profit motive?

Cathy McCormack It is about you being a member of organizations that support your efforts, keeping brochures and pamphlets of seminars that you have attended, keeping records of your co-writing appointments or interviewing people to get ideas. You calendar is a support for the other things that you do with your songwriting career.

[Question] The point of the profit motive is for your taxes?

Cathy McCormack No, the profit motive is to prove your songwriting is not just a hobby. It shows you are very serious about it and you want to make money at the songwriting. Make sure that you do act like a business, keep good records of your time and expenses.

[Question] What happens if you have many years of no income in the songwriting business?

Cathy McCormack That happens and that is OK. You deduct it on a schedule C with your tax return and show your losses against other income that you make during the year.

[Question] Is there any rule about how much money that you can make and still have a loss on your taxes?

Cathy McCormack You can have negative income, but the thing that triggers an audit is to show an income below the standards that the IRS has set that they feel you can live on. To continue to show poverty level income on your return can trigger an audit. They will audit you because they believe that you have an income that you are not showing on your tax forms. I have represented people in those categories. They ask how can you live and eat in the kind of house and survive making this low amount of money? They come in to make sure you are reporting all of your income.

[Question] I have been living on inheritance in the past year. Is this going to trigger an audit?

Cathy McCormack If you have inheritance money, you likely have it invested, and can show investment income. If I were looking at your tax return, I would look to see how you have been able to sustain those losses. If I saw that you had interest and dividend income, then I would say this person has money saved up that has sustained your lifestyle during the process of trying to launch your business. Those kinds of things are taken into consideration when the IRS triggers audits.

You would not get audited because you continue to have losses. If you had no income at all and you showed losses and carried those losses forward, then you would probably get triggered for an audit because it looked like you had unreported income. If they audit you, come in and find you clean, they put a note in your file that says this was a clean audit. That establishes a good track record for you. If you come back with those ratios mentioned previously about audits, then they will probably skip you from an audit. If they audit you and find errors, they can recommend that you be audited in the future.

[Question] What about forming your own publishing company for business and tax issues?

Cathy McCormack The type of entity is very important and heavily debated of whether you should incorporate. When you incorporate or form another entity, you are complicating your life. It does supply a limited liability, which should be the only reason that you incorporate. Joint relationships require a second entity, and that can be complicated if there are substantial dollars at stake. Then you need to incorporate.

[Question] What about self-publishing. Do I need a separate entity?

Cathy McCormack No, you don't need to incorporate. It is best if you keep it simple, not incorporating or forming other types of entities. Even as you start to make money, people think they should immediately set up a business and incorporate. Unless you accumulate substantial wealth and in a risky business, there is really NO reason to incorporate. It would make your life more complex. There is this myth out there that it will save you taxes if you incorporate and it is absolutely false - it will cost you more money! You would also have to prepare more tax forms. It would involve more income for us accountants, but it is not in the best interest of the clients.

[Question] To collect royalties, you have to have a name for your publishing, but you do not have to have a separate business - right?

Cathy McCormack Yes - you could have a "dba" (doing business as) and that will work for you. You are a sole proprietor and it does not add an extra level of complexity.

[Question] I started getting royalties in about 1990, was doing my own taxes, and filed my royalties under schedule E. I even called the IRS and the agent said what I was doing was OK. Later when I hired an accountant, they said that was wrong. Could you explain a Schedule E?

Cathy McCormack Schedule C is where you report self-employment income, an activity that you are involved in as a business like your publishing company. Schedule E is for passive activities such as activities that you are not heavily involved in or rental properties. If you were a passive owner of an oil well, then royalties would get reported on a Schedule E. It is not subject to self-employment tax - social security and Medicare.

If you are a songwriter, you are actively involved with the production of royalty income and as a result, that is considered an active activity, not a passive activity. You will not win in an audit if you put it in a Schedule E. If you inherit a song catalog from someone and you were not the one who generated that money, then it is correct to report royalties on Schedule E. If you are involved in the writing of the songs, then put it on Schedule C of your tax forms.

If you have had income in the past and you generate what we call a net operating loss, that loss can be carried back to years where you had revenue and you can recover taxes for years past. You may be a candidate for loss carry back. If you had a loss in the 2002 year, you can go back to 1997 though 1998, 1999 and up to that particular year. For losses in 2003 and later, you can do a two-year carry back.

If you are looking at your 1040 and have a negative number on that bottom line, you have what is called a net operating loss, and that loss can be carried back - use that loss against income in the future, forward or against income tax that you have already paid. You can go back to previous years, report the loss against the income you reported that year, and get a refund for the tax you paid for that particular year. You can carry the loss forward for many years before those losses expire.

Someday, when you have income, you can use your current losses to offset those incomes. You have three years to amend your taxes and show those losses that you were afraid to show in the past. You can carry your loss forward and tell the government that is what you are doing, if you do not want to carry it backward. As soon as I see a client that has an operating loss, I stop right there, call the client and ask what is going to happen next year. If they are expecting to make money the next year, as they may have a song on a popular CD that will make money next year, they may want to carry the loss forward.

[Question] Deductible equipment - for instance software that comes with a rebate - can I use my credit card record as proof that I purchased this equipment or do I need the original receipt?

Cathy McCormack You have to have a receipt. The government is getting very sticky about using credit card receipts. They accept if you can show that those deductions are legitimate in other ways, but they prefer you use a receipt. If you get an agent that is rigid, he or she may not take the credit card as a receipt.

Many times I have clients who buy equipment at a garage sale and need a receipt. We have the garage sale owner sing a piece of paper for documentation, or the client will note in their calendar that they bought a piece of equipment at a garage sale. Cut out the clipping in the paper about the garage sale to prove there was a sale on that date.

[Question] What about using your computer to keep track of your records for the year?

Cathy McCormack One of the best computer software programs is Quicken for keeping up with your personal business. You can use it to even just keep track of your checkbook and credit cards. At the end of the year, you can print out the report for your accountant to do your tax return. I just recently represented someone in an audit that used Quicken and because the client had great records, it really went very smoothly and quickly.

[Question] What kinds of receipts does the IRS want to see when they do an audit?

Cathy McCormack They want to see the actual receipts. In Quicken, you can import your credit card records. The client I referred to had gotten rid of several of their receipts, but luckily, still had some of the receipts. In the end, the agent let us use the receipts that we had to justify expenses for the year. The IRS wants actual receipts from the stores where clients buy their products. A statement form the checkbook or credit card company doesn't meant anything to the IRS.

[Question] What kind of receipts does a songwriter need to keep?

Cathy McCormack If you deduct it on your taxes, you need the receipts. Money in a parking meter is a deduction; you need to write it down somewhere to show how it is an expense. I keep a log in the side of my car door with an ink pen in the middle. If I am somewhere and pay an expense like a meter or something, I write it down beside my mileage and total it up at the end of the year.

Provided by the MusicDish Network. Copyright © Tag It 2004 - Republished with Permission

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Monday, December 27, 2004

Career Strategies That Work And Don't Work

Career Strategies That Work And Don't Work

One Musician's Practical Perspective

By Butch Berry,

MusicDish Network Sponsor


I know there are successful musicians out there, and I want to know how they got that way. No doubt we all want to know.

In being a musician, there is either some sort of pride with not seeking someone else's help, paying for it and doing it on your own, or just being too lazy. I never had that problem. I was not too proud to pay for someone else's consultation with how to help my career, because it is a business. I'm not saying I always hired someone. I would also ask all the musicians I knew who were successful at what they did. After trying out everything suggested to me, these are things that I found did and didn't work.

Getting a Band Together

This is the first step. Now, you might have other musician friends, but there are obstacles. They have to be easy to work with, like the music and not be flaky. I didn't have any friends who were into my music, so I went to www.craigslist.org. I found a drummer and a bass player that worked out. It was hard to find more players, so I went to hired guns. I liked the idea that you could find exactly what you wanted and they would learn your songs, no questions asked and have it down in a week. Man, that made things easier.

Getting the Gig

Everyone has ideas on how to book gigs. First you need the promotional package: the picture, the CD, and a bio. The CD is the most important part. The booker is looking for a match on the bill. Also, they always want to know how many people you can draw. The magic number seems to be around a minimum of 25 people, but more about that later.

After sending out multiple packages to bookers, I found that most of them don't call you back. You have to be persistent, but not annoying. I found that calling after a week is a good time to start. Sometimes they have a recording saying the best time to reach them. Plan to send your CD one to two months before the time you would like to be booked. Bookers plan ahead that amount of time.

You will have to hunt around to find the small places that will book you if you have an audience of 0-25. People say that it's good to book shows in three to four different markets in your local area. While this is a good idea, it's easier said than done. What happened to me is that I called and sent out packages to multiple places outside the city I lived in and none responded, or if they did they wanted to know if I had an audience in the area. Well, this is where the "catch 22" comes in: No, I didn't have an audience there because I'm looking to create one there, and I can't unless they give me a gig, but they won't give me a gig unless I have an audience. Phew! Did you catch that? What ends up happening is you can book shows at VERY small places and maybe even cafés to get started in the areas and make musician friends.

Making friends with bands in the areas you want to play is KEY. Playing at small places in that area is one way. Another way that's suggested by others is to send e-mails to bands in the area you want to play in. Why travel to the areas when you can just send an e-mail, right? Wrong. What ended up happening is that I sent e-mails to the bands that I thought we would work best with and no matter how sincere I was in the e-mail, they never responded. I find that most bands are not very professional, or at least helpful with other bands in giving them a show, unless you're already friends with them. The bands in other areas that I was able to get shows with I was already friends with. How do you do that? Go to shows and support local bands. When other bands come in from out of town and you're at the show, introduce yourself, start talking to them, and give them your CD. Then when you contact them about shows they will be more likely to be responsive.

Promoting the Show

Here is one the main keys to being a successful band. Why? Because one of the best parts of playing a show is seeing a lot of people in the audience. Also, the club likes it because they have more chances to sell drinks. Let's face it, this is a business. The club may like having a band on stage that doesn't make them wince, but more importantly, they're concerned with how much money the bands help them make. This is why the club will invite bands back. If you can bring in a lot of people that drink, you may never have to book your own shows again. You will have club bookers calling you and asking you to fill in spots for them. This is the point you want to get to. But before you can get to this part, you have to bring the people in.

There is much speculation as to the best ways to do this. In all honesty, there isn't one perfect way and trying as many ways as you can think of is probably not a bad idea. However, of all the ideas that have been suggested to me, these are the ones that did and didn't work for me:

Putting up flyers everywhere: Now, if you didn't know a band, would seeing a piece of paper tell you how they sounded? No, so why would you go? I never got people to a show because they were introduced to my band on a piece of paper on a pole. If you are known in the area, this works well.

Handing out flyers personally at targeted shows: This is where you make small flyers and go to shows that you think the bands audience would be similar to yours. Now, you don't want to go into a club and hand out flyers for a show that you're playing at another club. Clubs sometime see this as rude. However, you can wait outside for people to leave and hand them a flyer and have a chat with them. This is both a hot and cold method. Again, you are stranger to these people and most of them still won't come to your show. You will be lucky if you pull in a few. I paid for 5,000 flyers and had a street team pass them out and talk about the show to people. In the end, I had 20 people show up to a show that weren't from the band's mailing list. That's quite an expense for so little people showing up.

Inviting friends and family: This is the only surefire way to get an audience started. These people will come to your show, and the hopes are that combined with them and the other people that are at the bar to see other bands will like you enough to come back again and/or tell other people about you too.

Posting your show on music sites: I have never had someone tell me they came to see me because they saw my name on a music site. That said, I myself do check sites like www.myspace.com, to see what shows are playing because I can go the bands websites and hear the music.

Advertising your show in the newspaper, Craigslist and local weeklies: It is free to list your shows in an area of these places and people do actually check them while they're doing other things.

Playing parties: You can contact people you know that have lots of friends and have parties and ask them if they would be interested in hosting your band. Some you will be able to get them to pay you a fee. That worked for me. It has also been suggested that you put a donation can at the door saying that it's for the band and mention the suggested amount you want. I haven't tried this way, so I'm not sure how well it works. But, it's another idea in case you have a host that doesn't have enough to pay you. This is a good way to have a captured audience that you don't have to get to come to the show.

Catch-all for things that didn't work: Passing out flyers for your next show and CDs at a show that you have just played, playing bookstores, imagining the ideal audience and place you want to play, playing open mics, leaving CDs at places with your next show on it, leaving cards at tables asking people to sign up for mailing lists or to host you at a party, putting information and non band-related news on your website, forums, and putting your band sticker everywhere.

In the end, it is important to keep trying different things and not quit after one method doesn't work for you. It could be the next thing you try that brings you success. It can also depend on who you know, what style music you play, and how much money you put into constantly getting your name out there. Luck is just consistent hard work and creating the opportunity, so you never knowŠall of things I've listed as not working could very well work for you. Good luck!

Butch Berry is a singer/songwriter/guitar player for Butch Berry Band www.butchberry.com

Provided by theMusicDish Network. Copyright © Tag It 2004 - Republished with Permission


Tuesday, December 21, 2004

How Can You Achieve Success as an Independent Artist?

How Can You Achieve Success as an Independent Artist?

By George Shantzek,



MusicDish Network Sponsor
tree63
Often life as an independent artist has been regarded as a one-way ticket to Smallville: great college crowds, a great college student quality-of-life, and a double lifetime supply of beer. This career choice is known to be, at best, difficult-- offering a menial and even thankless role in the music world.



Whether you happen to be in the industry or just an innocent bystander -- also referred to as a fan, many will measure the success of an artist in simple terms: how many units have been sold; how much exposure has the group received; how many can they pack into a room or concert hall? And whether you want to admit it or not, EVERYONE regards the mainstream media as an indicator of whether a group's success is significant or marginal.



Many of us in the industry ask ourselves, repeatedly: how can independent artists reach a broader audience? We respond with great certainty, declaring the internet as the artists' newfound Mecca. And then some will go on to lambast MTV, the radio industry and music store chains for refusing most independent artists access. "That!" we say, "is the 'Great Barrier' to independent artists reaching a broader audience and a successful career!"



So we are left with this simple recipe:



Internet = Good: the music "Promised Land," offering endless opportunities to attract hundreds of millions all over the world! An artist's direct link to potential fans, knocking out the middle man.



Big Business = Bad: The bad guys who ignore good music - except for the moments they take a calculated risk with a great new discovery for MTV's "Road Rules."



The problem with this recipe is that it gives us a false view of the real industry playing ground.



First, a brief look at the Internet: the Internet can be an excellent business and marketing vehicle for artists. But look no further than Google and you can find endless case studies on the "dotcom bust," proving that the internet is NOT a business model, whether you're a farmer or a world-class media company. It is only complimentary to your product, your vision and your marketing strategy.



So, let us say, for all intents and purposes, that there is an artist who is pretty talented and has a good product to offer unsuspecting eager listeners. From here, we move on to the vision: following the "thinking with the end in mind" approach, we establish that the artist would be very happy with regional airplay, a six-album record deal and limited exposure on MTV2.



Now unless this artist majored in Business, Marketing and Entertainment Law, his or her marketing strategy might remain a bit unsophisticated, making it highly unlikely that he or she will ever see the day that one of the songs will receive regional airplay, let alone a six-album record deal or MTV2.



And anyone who has managed to "break into the business" or has landed a record deal can tell you: turning your music into a business can be an extremely risky, and sometimes disturbing, venture. An artist is simply an entrepreneur full of passion, ideas and creativity. The music might be good and the concert crowds might love it, but it will never generate huge amounts of money until the artist is ready to work hard at developing a sophisticated focused marketing plan and whip out 4-minute industry-friendly jingles.



But, even then, the artist needs to be savvy enough to survive formal collaborations with producers and record labels. No producer or record label looks out for the interests of the artist. That is not their business. Their business is maximizing and exploiting a consumer-friendly product. Nothing more, nothing less. The bottom line is all that matters. Once there is no more bottom line, there is no more artist.



Even musicians who have had some significant success with their music are still hesitant to claim that success as an independent artist is possible. Tor Hyams a well-respected singer/songwriter in Los Angeles, has successfully written music for motion pictures and network television and still has grave doubts about making it as an independent artist.



"It is almost impossible to achieve success anyplace as an independent artist. What I truly think about the Indy scene is that it is important and crucial to the evolution of music. Though I become less jaded every day, I must be a realist and insist there is truly no future at this point for independent artists except for the rare occasion when all the stars align and luck is a lady tonight.



"Even if you just look at raw figures (Sound Scan numbers, ad dollars spent each year on records, etc), you would literally have to be a millionaire to make it right now. It is simply impossible to have anyone know who you are without mega-bucks. You are competing against the major labels and Indies with a lot of money."



And this is someone who has relied heavily on the internet for establishing his business. He even has a cyber claim-to-fame:



"I was the first indy artist to acquire financing for a record online... Billboard wrote an article about me and the event and so did many other internet and print pubs. There was a lot of hype. I got 35K to make a record, spent 6 weeks at one of the hippest studios in the country making it (Fantasy Studios in Berkeley) and then it all went South.



They (industry managers/producers) said they were going to make big things happen, that I should let go of control and they would act as my managers, etc. Zippo. They dropped the ball. I had another business contact who was supposed to get commercial radio to play the record. Again, ball dropped. The label that got me my deal went bankrupt. Nothing happened and the investors never got their money back."



But even though he had some pretty strong words for his own record deal experience and the state of the industry today, he has still found a way to carve a niche in the music world and make a good living out of it.



"Am I bitter? Not really. I actually got to live the dream; 6 weeks in a major recording studio with a real legit producer doing my songs. Not bad. What I realized later on was that I was actually pretty satisfied with just that part of the dream.



"I suddenly didn't need to be rocking out at Madison Square Garden. I realized that I was a good songwriter, but that my particular brand of performing was just not being accepted. People wanted Justin Timberlake, not a 30 something pop rock singer."



And sometimes it just takes staying true to the brand and sitting it out long enough so the trends shift back in your favor.



"Ironically, my 'brand' is actually coming back to be trendy. People have actually started buying my record again and playing it on the radio without me having to do anything at all. At the same time, I am finally writing and producing commercial records as a living. Life is good and the path I took here (including this whole Indy thing) was correct because now I am here and I like it here. I feel like I have gained a lot of knowledge in a very short time and that is certainly a privilege."



So is there a simple recipe for success as an independent artist? Definitely not.



But there are just some words to live by: stay true to the product, search out a niche to exploit, and get a damn Business / Marketing degree!



This article was made possible by a call-for-articles, Focus Marketing, a company bridging data analysis and marketing strategy development for the music industry, to independent artists and labels on their experiences in promoting and selling their music.



Provided by the MusicDish Network. Copyright © Tag It 2004 - Republished with Permission


INDIE 2004: Your CD Cover is Your Best Ad For Your Music

INDIE 2004: Your CD Cover is Your Best Ad For Your Music

By Christopher Knab,

Your cover is your calling card to the record industry and to the consumer...how well you design it and the other graphics for your release could well determine your success or failure as a musician.

MusicDish Network Sponsor


Now that I have your attention, I have put together the following guidelines to help you realize the importance of the graphic design stage in preparing your music for the marketplace. A well designed and attractive cover, along with other detailed information you have included in the packaging, may well determine if the gatekeepers in the music business ever bother to listen to the music contained on the record, and if a music consumer is turned off or on by your graphics. It is the best advertisement for your music.

So, go through the following questions and evaluate the design, graphic images, text (title, credits, etc.) and concept of your release by answering the following questions thoroughly and carefully. Then critique your cover in a professional manner, suggesting any improvements you think would help make the graphic design a more effective introduction of your music to the industry and your fan/customers.

1. Front Cover:

Is the name of the artist clearly visible?

Is the name written with a unique Logo design?

Is the name of the artist in the "top third" of the cover?

Is the title of the release distinguishable from the artist's name?

Is the genre of music hinted at by the cover art?

2. Back Cover:

What specific type of information is included on the back cover?

(Label name, catalog number, barcode, song titles/ times, contact information, production credits, more?)

Are the graphic images and text and colors used clearly readable?

3. Label:

Is the artist's name (logo) present and clearly visible?

What specific information is on the disc itself?

(Many artists leave the disc blank for 'artistic' reasons, do you wish to make such a statement, or are there more important considerations that should be addressed?)

4. Booklet/Tray Card:

Describe the type of Booklet/Tray Card used in your packaging.

What specific images, and text information is included?

( More credits, thank you's, lyrics, pictures, etc.)

Is the artwork and design consistent with the rest of the artwork and design of the front and back covers?

5. Spine:

What specific information is on the spine of the CD?

( Label name/logo, catalog number, artist name, release name?)

You have spent a long time writing, rehearsing, performing, and recording your music. Please take some time to consciously consider all the issues listed above, subtle and not so subtle, that go into creating your CD, Tape, or Vinyl release. Once approved and sent to the manufacturer/printer it will be too late to correct any second thoughts you may have had. (Will you still be proud of your cover 10 years from now?)

Once released, your record will take its place in a retail store next to the thousands of other artists and bands that made it to the shopping arena where a consumer may or may not be attracted to your music by the artwork you have created. Never forget ... the career you save by learning the craft of cover design ... may be yours!

Provided by the MusicDish Network. Copyright © Tag It 2004 - Republished with Permission


Monday, December 20, 2004

Where is the "Indie Community

Where is the "Indie Community"?

by Chad Lagrone,

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The RIAA and Clear Channel may be the first place to blame the struggles of indie music, however oddly enough we can take so much from what they offer to the music industry.

Personally I have worked in the music industry for over 10-years, specifically the indie music scene. During those years I have read articles, emails and personal contacts from both the industry and artists on the scene. Through so many of these contacts the same tone seems to ring "We hate the RIAA and Clear Channel for squeezing the independent artist out of the mainstream listening audience".

Today, over 10-years later, I wonder if anyone really understands who has caused the squeezing of the indie music scene. Indie music was not squeezed out of the mainstream listening audience by the RIAA or Clear Channel it was squeezed out by the Indie Music Community (I use community loosely).

For years I personally have contacted thousands of musicians, labels, recording studios, magazines, ezines, promotion companies, web casters, and any other aspect of the community to join together for one single cause, support and promote indie music. Embarrassing, as it is this is when I found there was no Indie Community just opportunists looking at their checkbooks. 90% of those that I have suggested to come together either do not answer me entirely or their first response is "What's in it for us?" I suppose to these people making indie music legitimate is not a good enough reason.

The RIAA describes itself as: "The Recording Industry Association of America (RIAA) is the trade group that represents the U.S. recording industry. Its mission is to foster a business and legal climate that supports and promotes our members' creative and financial vitality. Its members are the record companies that comprise the most vibrant national music industry in the world. RIAA members create, manufacture and/or distribute approximately 90% of all legitimate sound recordings produced and sold in the United States."

Without arguing with what they refer to as "legitimate sound recordings", we still can grasp a lot about how this organization works. The RIAA is a combined group of Industry Leaders who have come together to promote their artists, much like a co-op. While they state they represent "90% of all legitimate sound recordings produced and sold in the United States" I would be willing to say if factoring in the recordings not legitimate "Indie Music and Labels" the percentage would drastically change the music landscape.

So what makes Indie Music not legitimate? Pretty simple, the Indie Music Community does not exist. It has taken these ten-plus years to recognize or even admit to this reality, who really wants to admit that the industry they have committed their life to is nothing more then separate and weak companies, organizations and individuals who remain happy playing "second fettle" to mainstream media.

The best example of the lack of dedication to indie music within the community is Clear Channel. One of the United States largest broadcasting networks only accomplished their growth because so many independent stations were willing to sellout. Clear Channel has repeatedly urged the FCC not to allow more broadcasters because it will interfere with their airwaves; they have forgot the whole name "Public Airwaves". A simple requirement for FCC licensing is your broadcasting serves the community, can someone please tell me how Clear Channel serves the community? Furthermore, why do they still hold FCC licensing?

Clear Channel has been allowed to practice a monopoly in so many areas not just with broadcasting but also some of the largest music venues in the nation. Not only has this organization caused a monopoly while the FCC patted their back, but they also dabble in the illegal act of bribery. Clear Channel makes it a practice to broadcast music by those artists who agree to use their venues exclusively, this has not been a secret for some time, so again why do they still have a FCC license?

So how does an Indie Artist get in the door of a large listening radio station? The best way to accomplish radio play with the "legitimate" recordings is hire an Independent Music Promoter. Independent Music Promoters are the middlemen between the record company and stations who have the legal right to offer "promotional payments". With this six-figure payment the label then pays the promoter for each single added to each stations play list. Nothing wrong with this, I mean after all every grocery store you frequent has a paid display from Coke or Pepsi, right? The difference here brings us back to the phrase "Public Airwaves", meaning the broadcast actually belongs to the public. Independent Promoters and the radio networks are selling the public; this is theft of public property, your property.

While the RIAA and broadcasters admit the practice of Independent Promoters, both lay the responsibility of stopping the practice on each other. Truth is if the RIAA stops the use of Independent Music Promoters their music will not be heard, and if the radio networks stop the practice they could stand to loose millions of dollars.

Meanwhile the RIAA spends millions of dollars a year on Independent Music Promoters and expects us to believe their "poor mouth" talk when forcing themselves into the electronic distribution arena and endorsing larger royalty payments for Internet Radio, almost double of that paid by traditional broadcasters. This falls on another attempt to squeeze out indie music from the public listening audience.

After all is said and done, what is the lesson we can learn and apply to the indie music community?

The community has no unity to effectively promote indie music or force changes in the FCC laws. The RIAA had the foresight to know that creating a co-op of recording labels would offer an effective promotional tool and leverage to effect radio broadcasting and retail sales. Clear Channel also had the foresight to know there were hundreds of broadcasters willing to "sellout", much like what I have seen in the indie industry and their focus of "What's in it for me?" Clear Channel knew the larger their broadcasting network the more they would control the music industry as a whole. Clear Channel now holds the two top players in their back pockets, the RIAA and FCC. While none will admit this, it only takes someone who can think on their own and draw their own conclusions to realize the truth.

I guess it is a safe bet that a large majority of the public does not fall under these criteria's for understanding the music industry. If even a small portion of the public understood I would call for class action law suites against the RIAA, Clear Channel and FCC for theft of our property, bribery, creating a monopoly and deceiving the public by swaying the music charts through the use of Independent Music Promoters.

I know this is all my personal fantasy of events, however wouldn't it be something to see those who say they support the indie musician to put their words into action and stand as one and say "We are mad as hell and we are not going to take it any more!"

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Clear Channel is used as an example, however most major radio networks practice the same business operations and ethics. Clear Channel is used because they have become the easiest target in the indie community.

Provided by the MusicDish Network. Copyright © Tag It 2004 - Republished with Permission



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