Sunday, July 31, 2011

Getting The Most Out Of Your Band Website

If you're an experienced music promoter, you know how powerful a strong web presence can be. For those that aren't experienced at promoting, there are certain elements every band website must have in order to get the most out of every visit. Read on to find out how each of these elements can impact your web presence:

Home Page: This is your main page. You don't want to waste this prime real estate by placing mundane or non interesting items on it. The goal with your home page is to draw the viewer deeper into some of your other pages. This can be done by putting some interesting "hooks" in an attention getting way such as "Party of the century coming your way! Check out our calendar for more information on this event you cannot miss!" You can also place small news clips from your page dedicated to news about your band. Of course, on the news page, you would draw the reader to your event schedule or page where you want them to buy your music. You will also want to place booking information here. Don't just put down an email address and call it good. You need all your information since each viewer is comfortable contacting you in a different way. If you're concerned about your address, get a post office box.

Event Schedule: This should be an organized and updated list of all your shows. Stick to a list format rather than a calendar since you will want to put small "hooks" under each event that allows the reader to think the event is going to be worth attending. Don't forget the location, address, and cover charge.

Band Info: You will want to put a short history of your band and a bio of each one of the members on this page including attractive photos. You can also place testimonials and achievements on this page. Your viewers want to know you've been involved with some surprisingly big shows and have shared the stage with some possibly well known artists. There are also "hooks" you can place here as well, for instance if your guitarist is very good at a certain style of riff, you may want to reference a song download that features that member doing something exceedingly well.

Samples: This page, which could be integrated into your home page, needs to have some or all of your work. You will also need to provide the user a way of downloading each song so you can maximize music sales.

There are also several other pages you could consider adding such as an online store to buy music and merchandise, a contact page for those who just want to inquire about your work or booking, and a photo gallery. As far as band art and other items go, you can integrate this throughout your entire site. Another very important element is having a band blog. This should be updated a minimum of every week to keep readers coming back to your site for entertainment value.

For more helpful tips on the music industry and music knowledge, visit http://www.phoenixarticles.com/. You can also visit http://www.phoenixparkproductions.com/ for additional resources for artists.

Jason Cook, Phoenix Park Productions - Music Promotion, Management, and Booking


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Mobile Marketing Can Level the Playing Field in the Music Industry

Some people who dare to dream or aspire to be great balk when I present the idea of Mobile Marketing to them. My question is why? Why wouldn't someone want a more rounded approach to marketing themselves? The idea is to get your name out there to as many people as possible. I like to use the term, covering all your bases. In this case it would be utilizing all the media tools available for you to use. If you are not using all of them to some degree, you are missing out on building a larger and more adoring fan base.

One question that I often get asked is, Why would I want to pay for a service like Text Marketing when Facebook and Twitter are free? You can't beat free advertising right? Well, Mobile Marketing is not designed to compete with Facebook and Twitter. It is a tool to be used in addition to them. It's a tool to be integrated into a complete marketing program designed to maximize your exposure to the greatest amount of people possible. That's how you become a star. That's how you make sure people are talking about you. Once they're talking about you and thinking about you, your goal is to make sure they never stop!

Let me add that contrary to what many believe, not everyone is crazy, active, or savvy about Facebook or Twitter. You have to literally reach out to the others. Market and build your empire and they will come.

Text Message marketing is not just for the big record labels, or the big time artist management teams. Text marketing is not expensive to the aspiring artist either. All major superstars incorporate Mobile Marketing, Twitter, and Facebook. Some additional examples of marketing tools are Radio advertising, Print ads like in Newspapers, or magazines, even Flyers and I'm telling you, all the superstars are using each of these marketing and advertising tools more or less in an overall approach to keep their names fresh on the minds of their fans. I'm telling you, it is wise to incorporate some form of each tool into an overall marketing campaign.

Personalities like Rihanna, and Beyonce use it. Many rock bands use text marketing with great success too. The main point I want to make here are that each of these artists use an overall marketing approach and you can do it to. Of course they do it on another level but remember, a snowball doesn't automatically start out large when it begins to roll. It becomes bigger and bigger as it's moving along and as you grow in popularity, you will also be advancing to another level as you're moving along. Got it?

For some eye popping statistics on Mobile Marketing and ideas on how Mobile Marketing can be integrated into a complete Marketing campaign visit my blog http://www.mobile4boom.blogspot.com/


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Finding the Beauty of Music Where You Are!

I recently went on vacation to Northern Saskatchewan and was mildly surprise at the amount of talent that was all around me. There were musician every where and I wasn't even looking. Most of us always think that Musicians reside only in the "Big Cities". I found out that was not true.

First, I went to a Tuesday night Jam where every one got a shot at singing, playing, or doing what ever. When I walked I was expected to see the typical set up. You know a sign up sheet and a bunch of musicians sitting around for the one time shot at fame. I was really wrong. And I mean, I was wrong! There were a bunch of seniors sitting at the tables and a bunch of seniors on stage. There was 2 Accordion players, 2 guitar players, Fiddle/Banjo player, Bass/Sax player and no one under 60. No way was I going up there!

So I took a sit and listened. What I heard was incredible. They were playing songs from every era you could think and from many genres too. But the most amazing thing was every one was up and dancing. They dance to almost every song. I started questioning my prejudices against their ability and whether I wanted to be up there. They called up a young lady who wanted to sing, so I used this as my chance to "Sneak" up on stage and join them.

The Bass player (Erma) a lady of 89, who told on me and the leader had me perform a couple of song. To my surprise the players where incredible. The guy next to me, Bob the fiddle player and Erma's Husband, was 91. After I play my first song the audience was incredible. Loud and warmer than any audience I have seen in a while. The Audience was there to hear MUSIC! It did not matter where it came from, when it was recorded, and who recorded it. They were there for one reason and one reason only - MUSIC! It was so refreshing. I know that these situations are rare but the point is that I found it in the most unlikely place. At a resort in North Saskatchewan, Canada. And the story Continues!

Two nights after I went to a Marina to see a local artist perform. That is right I said a MARINA, where you keep boats and get fishing licenses. Again, I was blown away. I even got a warm welcome from a couple of musicians that were at the Jam the night before. two of the most unlikely place to find music and I found it! The following night there were three people performing on the Lake by the break water with Amplifier and all. Talk about a hard gig. Who would have thought that I would walk out onto the break water and there in front of me is a raft, actually 2 canoes with a sheet of plywood connecting the two, would be there with 3 performers on the plywood performing.

I guess the point of this article is that where ever you find people, you will find Music! Look for music in the unconventional places. Coffee shops, Marinas, Resorts, On canoes on the Lake, almost any where! All you have to do it LOOK! So Find the Beauty of Music where you are.

Emo LeBlanc is a Country Music Artist who has performed all over the USA and Canada. Emo LeBlanc has been in business for 10+ years. Emo LeBlanc is based out of Nashville and lives elsewhere. Emo LeBlanc has performed all over the USA, Canada, Spain, and France. (731) 327-4EMO (4366)
http://www.emoleblanc.com/
emo@emoleblanc.com

Emo LeBlanc is a proud member of the following:

FNO, CMA, ACM, SOCAN, AMIA, and CCMA with Excellent Standings in All!


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Using Bass Traps to Improve Sound Quality in Small Churches

When it comes to optimizing the sound quality of a small church, using bass traps can make sure that low frequency sounds are dampened. As such, audio quality will be clear and crisp and every word will be heard, as exaggerated bass frequencies will not get in the way.

These acoustic treatments work by absorbing bass sounds that usually settle in the corners of the room. Instead of being reflected back into the room and disrupting higher frequencies, these traps convert this sound energy into heat through friction.

By using these in small churches or other places of worship, you can be confident that even the people sitting in the last row will be able to hear the preacher's voice.

The Ideal Place for Bass Traps

Where you place these traps is crucial in optimizing the sound in the room. Since low frequencies are considered as the longest and lowest in the sound spectrum, you have to make sure that they don't linger too long in the area. Placing a bass trap in every corner of the room will help. By doing this, you are allowing high frequency sounds - which are shorter in the spectrum - to have enough space to be heard.

Besides positioning, one other factor you have to consider when getting bass traps is thickness. This will define each trap's ability to absorb sound. Clearly, the thicker the product is, the more it absorbs. Some establishments use only one kind, while others mix and match their installations.

Frankly, applying different treatments in the room is better than just sticking to one kind of thickness; this way, the low frequencies are not completely eliminated. As much as possible, sound quality should always be balanced; both high and low frequency sounds should have enough time to be heard well. This is what makes pitch-perfect, crisp, and clear sound quality.

In a small church, the location has to have the right amount of bass traps so that every word spoken can be heard as clearly as the message being preached. In addition, when music is played, people should be able to listen, or sing along comfortably without being distracted by stray sounds bouncing off the walls.

Instead of church goers hearing unnecessary, lingering bass sounds, let the traps do that for you. With these, every person in the room will be able to experience the fellowship of your church without being plagued by poor sound quality.

Resource Box

Acoustimac LLC is a Tampa, FL-based company that specializes in the production of acoustic treatment products such as acoustic panels, acoustic baffles, and bass traps. The company caters to many different sound-sensitive establishments such as recording studios, theaters, and churches. For more details on available products, color options, and prices, call 1-888-827-1266 or visit Acoustimac.com.


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An Unsigned Bands Guide to Touring

A popular dream for an up and coming band is touring. Whilst often perceived as something only 'big' bands do, It's regularly achieved by those without a big following and can be great way of meeting new musicians and promoting your band.

Touring is all about planning, it often takes months to plan even just a week long tour as there are so any variables you have to consider. Below is an average day during a band's tour.

(Please note; 90% of unsigned band tours DO NOT involve: Paid tour managers, roadies, booking agent or hotels)

10am - Waking up (often hung-over)on a sofa or floor in a sleeping bag (assuming you remembered to bring it!)

12pm - Getting your things together to leave for the next gig. Allowing time for vehicle breakdown and food/toilet stops.

4pm - Arriving in the town/city you're playing - busking/handing out flyers for the nights gig.

6pm - Arrive at the venue, hopefully without too many problems. Load in gear and sound check. Find food for dinner and await stage time.

12am - finish gig, load gear back in and travel to where you're staying.

When planning the tour, negotiate with the promoters on how much you're getting paid and if possible somewhere to stay and some food. There's no harm in asking, maybe the promoter will say yes! Getting a space on someone's floor for the night is invaluable. You definitely don't want to be spending money on hotel costs if you've only got ?50 between 4 people. A lot of touring relies on peoples generosity, take what you can get.

Budgeting on tour is very important. Realistically with food and travel costs for 4 band members on tour you're going to be spending a minimum of ?50 a day. This includes cost for fuel, food and drink. Expect to be paying out extra for new guitar/bass strings, drum sticks and guitar leads too.

Having merchandise to sell on tour is a must. Whether it be your first full length album, or just a 4 song EP it's something you can sell/give away to the public and promotes your band. You can also have t-shirts/badges/stickers/hats/wrist bands, the opportunities are limitless.

Don't forget the reason why you're touring. You're promoting your band in the city you're playing, you want everyone who likes your band in one city to come again the next time you play there. Always value your fans, give them free stickers/badges and extra bonus tracks on the CDs. People will appreciate it more and you can guarantee lots of bands won't be doing it!

If you can, arrange contracts between the promoters at each gig. This will ensure they will keep to their side of the bargain and they can't turn around at the end of the night and insist they never said they would pay you. The musicians union have basic contract templates you can download from their website. It's simple, and another way of reducing the problems you may face on tour.

You'll find there's a lot of spare time in between gigs, if you've got spare hours to kill in a city - go busking. I can't stress enough how useful and lucrative it can be on tour. It also gives you the opportunity to plug your upcoming gig.

Whilst it may sound like a nightmare, it's incredibly enjoyable and once you've got the 'tour' bug. You'll be hooked!


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Songwriter's Due

Before the age of super digital technology, in fact, well before radio and gramophones were in any form of general use, a music publisher and song writer's main source of income came from the sale of print or sheet music sales. Not surprising when you consider the piano was still the main source of home and pub entertainment, right up to the thirties when the family wireless set took over with five million license holders.

Song plugging was a lot different in the nineteenth century. Prior to World War Two, publishers employed "song pluggers" who travelled round music halls peddling their songs to the great performers of the day.

This was the only way the public could get to know about a new song. The more it was performed on stage, the greater the sale of sheet music. The name of a great artist appearing on the sheet music cover, i.e. "as performed by Marie Lloyd" or "Gertrude Lawrence" gave both credibility and a huge boost to the sales figures.

Sixty years ago sheet music was still the most important source of royalty income. In fact, in order to protect the sale of sheet music, a record wasn't allowed to be broadcast until six months after its release!

To understand performing rights and royalties we need to go back a short way into history. Prior to the formation of ASCAP in the USA (1918) and the Performing Right Society Ltd in the UK (in 1914), the licensing, monitoring and collection of performing fees were all but non-existent. Sadly, in those days most composers and lyricists were unaware of the scores of music and concert halls performing their songs much less have seen any income.

Stories of a few songwriters being paid a few coins by a vocalist or concert promoter to perform his or her song were not unheard of, but these were rare exceptions.

At the same time there was no shortage of unscrupulous characters eager to exploit performing right laws. In the UK, one of the most notorious characters - Harry Wall, set up his own "Copyright and Performing Right Protection Office" in 1875. He operated by acquiring obscure works generally thought to have gone out of copyright. Then he travelled the length and breadth of the country in search of infringers.

The fact that many establishments where these songs were performed were often charity concerts or penny readings made little difference to Wall, who promptly issued damage claims at ?2.00 (about $3.50) a time. Many of these were made against unpaid performers and amateurs. The claims were coupled with a threat of court action against the proprietor, singer and accompanist for infringement of performing rights.

Finally, in 1888, Wall and others who practiced these methods of extortion were put out of business when another Act was passed abolishing the minimum penalty of ?2.00 for unauthorized performance.

Interestingly, the French performing society - SACEM (Societe des Auteurs, Compositeurs, et Editeurs de Musique), were active in Britain before PRS. This, however, was mainly to protect the interests of French composers' rights. An English branch of SACEM was announced by Alfred Moul in 1903 though to what extent British writers benefited is unclear.

In 1908 Britain contemplated a new copyright Act to replace the ambiguous existing laws (Acts of 1882 and 1888) and to some extent keep pace with its international obligations. And so came the 1911 Copyright Act. This was the first Act which actually "tied up loose ends" as it were, in copyright law, not just the right to print but also to define more fully performing rights.

In 1914 the Performing Right Society Ltd was formed in the UK - their first general meeting taking place at 32 Shaftesbury Avenue, London. Over a period of many years PRS set about negotiating, quite successfully, a whole range of licenses. These now enable various establishments to play music in public, in return for a royalty payment. Payments are graded according to how and where the music is performed. Places under licence include concert and dance halls, discos, amusement arcades, bowling alleys, bingo halls, theatres, cinemas, cafes, restaurants, hotels, motels, clubs, public houses, town halls, village halls, offices, shops, factories, skating rinks, fairgrounds, football grounds, exhibitions, stadiums, swimming pools, coaches and buses, ships, railway trains and aircraft, parks and promenades are all places where licenses are issued.

Today, ASCAP, BMI, SESAC (in the USA), PRS in the UK and their overseas affiliates issue licenses to cover performances of music on television and radio broadcasts. Every so often licenses are re-negotiated and updated to meet the constant changes, particularly in technology - internet, satellite TV, cell phones, and so forth.

Initially, however, licensing was far from simple to implement. None more so than in the fields of radio broadcasting and later, television. In the early days of radio, negotiations were extremely tough going. To compound matters, music publishers not wishing to antagonize broadcasters, (whose songs they were already broadcasting frequently, boosted sheet music sales), came down strongly against PRS. Some actually terminated their membership only to rejoin years later.

The 1956 and 1988 Copyright Patents and Designs Acts did much to improve the rights of composers, lyricists and artists alike though, I suspect, certain parts of the last Act are already becoming outdated through rapid advancements in digital computer technology.

(Dennis R. Sinnott)

I hope you found this article helpful and instructive. If so, why not visit our site at:
http://www.mastersofsongwriting.com/


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Tales of a Tea Boy: The Reality Behind Today's Recording Industry

When you first walk into Lighthouse Studio you are greeted warmly to long corridor adorned with platinum, RIAA-issued records, surely spoils of a long and arduous crusade within the infamous music industry. These records hang proudly showcased like a professor's long sought after doctorate or a soldier's Purple Heart. Record after record praises the same name in a polished chrome luster: Ray Alexander. Yet as you continue your trek down into the control room, it becomes apparent that the best of these trophies are kept inside the control room itself. What Ray values most is not the formal display of industry recognition but rather the sentimental memories encased in an autographed Rolling Stones poster, an old backstage pass, or even greater, a single photograph of a far younger and more youthful Ray Alexander standing in a crowded hallway next to none other than John Lennon himself. I am sure that every morning Ray sits down he takes a very brief second to look up at these frozen memories and remember how far he has come.

Having said that, my short stay with Ray Alexander and Lighthouse Studio has led me to the conclusion that these achievements are not easily won and that it takes a certain type of person to be able to build such a prominent empire out of nothing. Ray has the privilege of having a much sought after job, whose industry faces extinction each and everyday by the Great Equalizer that is the Internet. The role of the music producer has been romanticized in today's popular culture much like the role of the "rock star" has been. We associate this role with an image of a quiet genius teetering over a console of knobs and faders, green and red LEDs, turning something this way, sliding something that way, listening to some divinely-inspired muse trying to get "that sound." You hear about the remarkable and innovative ideas of George Martin, The Beatles' producer, and think of what fun it would be to have such a creative intensive job. I learned my very first day that everything I had come to believe was a fantasy. I suspect that if Ray were to actually spend 4 hours experimenting with a harmonium sound, he would be out of a job the next day. Not only that, but Ray already knows how to get that sound. That is essentially what people are paying him for.

The incredible rise in affordability of recording technology these days makes it possible for almost anybody to run the same software a professional recording facility uses on their Macbook Pro at home. I've witnessed quite a few clients come in with sessions that they had recorded themselves at home and brought in to be touched upon at the studio. While the studio does have a fully acoustically treated room, an impressively expensive collection of vintage microphones and amplifiers, the main asset that the studio has to offer is Ray's experience. What separates Ray from the clients is that he knows exactly what combination of microphone, preamp, compressor, and software plug-in to use for any given situation. This is something that makes his job so extraordinarily unique. This is what makes the recording industry one of the hardest industries to get into.

To get into any other typical career, there almost always exists some linear path of a university education involved. I realize that this is not the case for audio engineering and it never will be. The first reason being that recording technology is changing by the day and a curriculum teaching a version of Pro Tools 7 will become obsolete in Pro Tools 8. Sure, the theories will always remain, but there's always a gap between theory and practice. Secondly, a recent graduate of such a program will find it incredibly difficult to find a job in an already scarce job market. Logically, as a musician, are you going to want a person who just graduated with no experience under their belt or a seasoned veteran who produced several of your favorite records producing yours? Experience is the lubrication necessary to maintain a smooth-flowing session. With a profession so heavily dependent on technology, the ability to problem solve is extremely crucial in those common situations when a microphone fails to pick up any sound. It takes about thirty seconds for a client to become uncomfortably impatient (they are, after all, most often paying by the hour). While the inexperienced engineer stands there, fumbling to replace the microphone and then the microphone cable, Ray heroically strides in, takes control, and in a matter of seconds troubleshoots the problem down to an incorrect patching of the signal flow. He mutters to me under his breath,

"You see, a $15,000 education and they can't even teach basic troubleshooting."

I realized then that the best way into the industry was through that of the Tea Boy. All great recording engineers, much like The Beatles' Geoff Emerick, started off in the same place as I was-getting tea. In my case, this meant getting coffee-and a lot of it. The more I hung around, the more my responsibilities grew. First I was getting coffee, then I was running to the bank, next I was wrapping up cables. Before I knew it, I was beginning to set up microphones, scrambling to make note that a Royer 121 ribbon microphone sounds great through a Vox cabinet speaker and a hollow-body Gretsch guitar. On one occasion, I even had the opportunity to man the large center console but declined out of sheer intimidation. The biggest thing that a school cannot teach an engineer is the most important asset, one that has created considerable reluctance in me to continue in the field, and that is how to deal with clients

One of the many joys that I experienced was the diversity of clients that came through the studio. I rarely ever met the same person twice. While Ray's particular expertise tends to be in Rock and R&B musicians, he caters to anybody he can get; for example, he had clients ranging from spoken word artists to children's music to hip hop and even a 3 piece jazz ensemble. I took great pleasure in being exposed to so many different styles and the changes that were required for each situation. However, there is a very fine art in dealing with people, an art that I haven't necessarily mastered. For the most part, clients usually come into the studio with an idea, a loose framework of goals and expectations, and work with Ray to achieve them. And then you have the small percentage of high maintenance clients who view themselves as artists over anything else. These people are particularly hard to deal with and require you to remain humble. You forget very easily that you are dealing with another person's art, a very personal, creative expression of their self. No matter what the situation is you are required to remain as humble and objective as possible and reserve absolutely all judgments. I find that this is the most difficult thing to do. Another great myth of the record producer is that, through the grace of twisting a knob, they can make anything sound good. It then becomes a very awkward situation when a client comes in assuming that. You can only go into a session with a great sense of hope that the performer will be skillful enough to meet up to their expectations. The most troublesome situation is this: a singer comes in and is flat on every note. They then ask you, "was that a good take?" There's only so many times you can suggest to them to try another take before you realize that they could sing the same line a thousand times and never get it. The singer blames the engineer and the engineer blames the singer and in the end there's nothing either of them can do.

The worst thing I have seen that is increasingly common today is that assumption vocalists bring in that "we can just Autotune it later." Because technology now allows us to take a bad singer and digitally tune each and every note to be in key, the performance of some musicians is decreasing. In the very early beginnings of recording technology, the role of the engineer was simply to put a microphone in a room and capture a performance. It was up to the musician to nail an entire song in one take. This seems absurd today. In the 60's came the technology to overdub separate tracks to form a composite track and thus revolutionized how records were made. Jimi Hendrix could play both rhythm and lead guitar on his records and The Beatles could sing over an entire orchestra. A newfound freedom was created. However, with this freedom for the musician came a new responsibility for the engineers who had to actually then mix these tracks together to create one continuous piece of music. As the technology has increased, the role of the engineer has too and the role of the musician has decreased in the process. I've witnessed firsthand the grueling and monotonous job it takes for an engineer to sit and go through a poorly-recorded vocal track, note by note and adjust each and every line to correct the pitch. In extreme cases, if a track is so drastically out of key, pitch correction produces an effect that makes the singer sound robotic and artificial. Contemporary hip-hop commonly uses this effect intentionally.

When these unpleasant confrontations arise, it is good to be able to pause for a moment and look up at a picture of your younger self standing awkwardly next to John Lennon and remind yourself why it is you are doing what you're doing. At first glance, you might think of Ray Alexander to be a very lucky individual to have succeeded in this extraordinarily difficult industry. However, it comes at a significant price. There were many times where I would come in the morning to find Ray already at his desk, telling me, "I just left this place 5 hours ago." He's been known on occasion to even spend the night. The only time he gets to see any new movies is if somebody brings it on DVD to watch while they are recording. The sacrifice to running your own successful recording studio is that you don't get a single day off. While there are several other engineers employed at the studio, Ray must obsessively oversee everything. Being away from the studio at all seems to create even more anxiety for him. If an engineer fails to patch the signal flow correctly or doesn't know how to deal with a high maintenance client, he's going to potentially lose money. He will always remain forever cursed by the sacrifice of spending time with his family or the anxiety of being away from the studio. This is all just a day in the life of the modern record producer. The romanticized version tends to leave out all of this inner conflict in replace for a glamorized achievement of having a platinum record. It takes a lot more than sheer hard work and determination to get this far. At the end of my short stay behind the curtain, I am left with only one question-is it worth it?

Mark Anthony Cianfrani - Philadelphia, PA
SEO Specialist | Web Copywriter
http://www.markanthonycianfrani.com/


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Don't Under Value Yourself

Recently, I was told that "I was under charging for my services because I had a confidence problem" and it was then explained to me that I should not be under charging and that I deserved every penny I asked. What I needed to do was change my perspective at how I looked at myself. I needed to look at myself at a product or brand. More importantly, I needed to also look at the time and money invested in getting where I am in my career. Let me preface the upcoming numbers, they are just estimations. Having said that let's more on.

Let me give you an example of how to justify the price I charge without having a guilt complex. I practice on average about 10 to 20 hours per week. On the conservative side let's estimate the hourly at $ 15.00 per hour. So that would be $ 225.00 to $ 300.00 per week of practice. There are 4 weeks per month which is $ 900.00 to 1200.00 per month. I have been doing this for about 24 months which would equal $ 21,600.00 to $ 28,800.00 which is equal to a College Tuition (Stick with me there is more to come). This is not counting the equipment you are using and not counting the time use have invested to master your instrument and the equipment. So depending on how much you invest in your equipment we are now looking at close to $ 60,000.00 to $ 80,000.00. Now add the time, effort, and money you invest in producing demo recordings to get the gig. Then there is the time, effort, and money promoting the show. So need I say anything more about being cheap when booking your show. It doesn't take long when you use this method to see how over time you have accumulated a huge investment in your music that has to generate a return. When people invest in an MBA degree that is what they use to justify charging the huge Salaries. So now I hope you have the same perspective I now have and refuse to do a show for "CHEAP" ever again. Jeri Goldstein, who has been coaching me tells me that you have to treat you and your music like a business. I received a true testament to what Jeri said. I was booking a gig and it was a trial situation and the owner of the business wanted a business plan as to what I plan to do. This plan should itemize ALL the cost involved with you doing the gig, tour, and anything else. Get a grip on where your money goes. I know that asking something like that is an incredible task for a musician but I would like to think that today's musician is smarter than the average joe. The reason that the Big Guys have made it is because that is exactly what they have done. Kept track of where their money is exactly. Start now and don't waver. So get your plan together, know the answers to the questions, and get out there and play your music!

Emo LeBlanc is a Country Music Artist who has performed all over the USA and Canada. Emo LeBlanc has been in business for 10+ years. Emo LeBlanc is based out of Nashville and lives elsewhere. Emo LeBlanc has performed all over the USA, Canada, Spain, and France.
(731) 327-4EMO (4366)
http://www.emoleblanc.com/
emo@emoleblanc.com

Emo LeBlanc is a proud member of the following:

FNO, CMA, ACM, SOCAN, AMIA, and CCMA with Excellent Standings in All!


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Making Money With Your Music in the UK

Making, performing and releasing music may sometimes feel like labour of love - why, sometimes we are even expected to pay to play gigs. Yet so much cost can be involved: equipment, instruments, recordings, studying, coaching/music lessons... not forgetting the hours we put in for composition, practice, marketing and promotion. And we can't expect the world to owe us something (or a lot) for what we choose or need to do. It's survival of the fittest, right? The strongest music gets the income.

Well the strongest and/or most popular music may get most of the income and the big bucks. But they are not necessarily the only ones making money with music. OK I may not be talking millions or new cars or houses here. But small amounts of revenue can be accrued by the most lightly active musicians. If you perform gigs at live music venues, release or sell your own music or get play on less mainstream radio shows you can still make some money with music.

Of course there is a few things you need to do first to make sure the world is aware of you music. I will cover the UK here as this is what I know of living and publishing independent music here. You need to join the bodies PRS For Music and the PPL (Phonographic Performance Ltd). You then register any recordings and releases (if you do not have a label to do this for you) with the PPL and acquire ISRC's for each track. An ISRC is a unique code for each released recording and needs to be included in the metadata during the mastering process. Ask the mastering engineer to include them or research this further if you are mastering your own material.

If you are playing live shows at your local pub, even at an open mic event you can still be making a bit of money with your music and claiming music royalties. By joining the PRS in the UK you can claim for each performance in a venue that is registered with a PRS music license. There is a PRS license sticker in the window of these places and ask the manager if they are licensed. Most of the time they have to be - even sandwich shops and hairdressers have to have licenses to play music in public. Which has it's pros and cons I know, but as a musician you can take a share of the moneys allocated by registering your tracks/setlist even if it was a small gig with very few audience members.

If you do send your music to radio stations and shows that are likely to like and play your music, then you may very well get some airplay and this can also accumulate. They are free to join and take a small percentage from music royalties they claim for you. And they hunt them down internationally. Research radio stations that may specialise in your music - I make quite unique or weird creative music and still find enough outlets to play and support my independent music.

Third party companies such as Sentric Music can make this process a lot easier as they are free to join and claim music royalties for you. As payment they take a small percentage from music royalties they claim for you, and their registering system is a lot more straightforward and accessible than I have found by going directly to PRS site. You just let them know when your music is played on any radio show you know about and tell them of any live shows with set list. They also send out regular requests for music for adverts for TV etc. Now that is can be artist's dream that can come true music royalties wise.

Finally selling your independent music yourself has surely never been easier. Sites like CD Baby and Bandcamp mean you can offer your independent albums and singles at whatever price you like. And you receive most of the income. Through CD Baby you can also get your music onto the likes of iTunes and Spotify which can mean more listens, sales and royalties. On Bandcamp you can give away your music for free or set a price to pay per download/item purchase. Alternatively, you can set a minimum amount an will invariably find a few supporters will pay more than this.

So we can't all be making loads of money from our music but you could be missing out on some moneys you are due. You could actually make quite a bit of money from your music. I have only shared a few avenues of revenue I know of and reap rewards from making my creative music. It can be straightforward and could be a surprising amount. More advice and information can be found at PRS for Music, PPL and Sentric Music websites and a thorough search engine search.

Caro Churchill aka caro snatch is a producer and performer of her own brand of creative music, toying with conventions of spoken word, electronic and avant-garde pop. Her latest independent album - Til You're No Longer Blinkered - has received many encouraging reviews and radio play, including BBC Radio 6 and Radio 3's Late Junction show.


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Getting Gigs As a Professional Band

Everyone has dreamed at some point of being in a band. But playing Wembley Stadium to 1000s of screaming fans and travelling around in chauffeur driven limousines unfortunately isn't the reality of your average professional band.

Every successful band is treated as a 'business model'.

The internet is usually the place that every band starts, using social websites such as Facebook, Twitter and most recently, Linked In are increasingly accommodating to bands & Musicians. It is often free for bands to join, upload MP3s, videos, gig dates and biographies. By doing this you are keeping your fans up to date with what your band is up to and reaching a wider audience.

Websites such as Bandcamp have also cropped up in recent years. These sites allow users to design a profile, which they can upload songs and artwork to. In addition to this users are able to keep track of fans email addresses, which can be downloaded to an Excel document, making it easy to send newsletters to your all important fans! To top it all off Bandcamp only takes a small commission from its users sales, meaning it is a cost effective way of getting your music out there. For this reason it has become a bands best friend.

Musician Directory websites are also very popular, although it is often very difficult to be found as potential customers have to sift through a never-ending list of mediocre bands in order to find the diamond in the rough. There are often hundreds of profiles so make sure that you include as much information as possible in order to make your profile stand out from the rest! Adding videos of your band playing is a great start to show people what to expect from a live show (assuming the videos are good quality!). It's also a good idea to get people to write a review of your gig on your profile page. The more great reviews, the more gigs!

Busking isn't something everyone has tried. However, it's undoubtedly a great way of making some money and promoting your talent. Contemporary and function bands have taken to the streets countless times in order to entertain the masses. If you're any good you're bound to be offered a gig somewhere, if not at least you'll make some money!

Another option is to offer yourself as an acoustic act as well as a full band to accommodate everyone's needs. Being a Jack of all trades' isn't a bad thing in music.

Last, but definitely not least are house bands. House bands regularly play in a venue 2-3 times a week and become very popular with the locals usually having a standard repertoire of 20-30 songs. This exposure results in the bands receiving more bookings from their ever-growing audience. The practice doesn't do any harm either!


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BBC Radio 1, The Inside Story of the Biggest Pop Station in the World

Have you ever given a thought to the role of the pop music disc jockey as he prattles away between the records? I doubt if it has ever crossed your mind, yet every day many millions of people use "music radio" as the soundtrack to their lives. It's a fact that music radio is more popular than any other type of radio entertainment.

From 1985 to 1993 I was in charge of BBC Radio 1, the national pop and rock station covering the whole of the United Kingdom.

Prior to 1967 there were a number of illegal "pirate" radio stations broadcasting to the mainland from the high seas around the coastline of UK. Following the British Government's closure of these pirates, the BBC reorganised its radio services and set up the first ever all day national popular music radio channel, BBC Radio 1.

In 1967, as a young producer, I was responsible for helping set up the station and produced the very first broadcast, the breakfast show, presented by star Disc Jockey Tony Blackburn. It was a very exciting day and one I will always remember. Not only was it a first for the BBC it was the first time American style radio jingles had ever been heard on the staid BBC airwaves and listeners were soon tuning in by the millions. Within a few months the station had over twenty million listeners a week.

Because we were operating a National service and needed to meet the fans all over the country, I devised the Radio 1 Roadshow, a travelling show broadcasting live from holiday resorts around the coast. Radio 1 listeners turned up in their thousands to see their DJ idols and participate in the fun and games and it was such a success that it ran for over 21 years. It was one of the BBC's longest running outside broadcasts and only ended when it became a victim of its own success, the logistics of running such a huge show overwhelmed it.

The programme content wasn't simply DJ's chatting away all day. There was also a comprehensive news service, "Newsbeat", and more people heard the news from this than any other BBC radio service. There were many broadcasts of live concerts by major rock artistes and a series of radio documentaries telling our listeners more about their favourite artists and their music. I personally set the style for these when I produced "The Beatles Story" a 14 hour series which was sold all over the world and translated in to Spanish from the original English.

In 1985 the BBC promoted me to Channel Controller which meant I was officially in charge of the whole station, it's DJ's, the staff and all the output.

The biggest project in my first year was to organise the broadcast coverage of "Live Aid", a huge project dedicated to raising money for the relief of famine in Ethiopia. It was an enormous undertaking with live concerts from London and Philadelphia as well as supplementary support concerts in Germany, Yugoslavia, Holland, Japan, Austria and Russia and Radio 1 and its staff provided the sound that went around the world.

That was the start of my tenure in charge of the biggest pop music station in the world and it continued like that until 1993 when I retired to take a back seat and become a listener rather than a broadcaster. If you are a radio enthusiast and want to understand it all and find out what it was like to ride this rollercoaster of a radio station you'll just have to take a cruise on one of todays modern cruise liners and listen when I give one of my lectures on the subject.

It was a fascinating time and as I said at the beginning, please give a thought to the disc jockey and his efforts to entertain you on a daily basis. There's a lot more to music radio than a person sitting in a room playing records. Who should know better than me? I was responsible for entertaining over 20 million listeners every week.

Happy listening.

Johnny Beerling

If you are a radio enthusiast and want to understand and find out what it was like to ride this rollercoaster of a radio station and read about the backstage gossip please explore the contents of my book "Radio 1, The Inside Scene" it's all on http://www.johnnybeerling.com/ and if you want an electronic version it's there for Amazon Kindle readers with additional previously unseen photos too.

I hope you find it of interest and entertaining and that you enjoy the read.

If it provokes questions please do contact me on johnny@johnnybeerling.com


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Saturday, July 23, 2011

DJ Mixes - Creating The Right Mix For Each Event

You can own the best DJ equipment in the world, however if you don't choose the right DJ Mixes songs for each event, you'll be useless. From millions and millions of songs to choose from, how do you know what songs to play at each event. How many times have you gone to a party and heard songs that just baffle you? Don't be "that" DJ.

You need to understand your clientele. Music is different all around the country and all around the world so I can't tell you which DJ Mixes to play, however I can help direct you in the right direction. Luckily, pop music and popular artists are pretty universal. Generally sticking with popular artists at any event will be a safe bet. Of course you'll need to find out the musical preference of the client.

"Pop artists" is still a bit too general to help you gauge what to play for your DJ Mixes. While Popular Club music might go over great for a Wedding in a metropolitan area, Pop Country music might be more appropriate for a Wedding in the middle of America. Furthermore, while Trance/Techno music is great for Night Clubs, it's probably not a good idea to play this type of music at a 50th Birthday Party.

How do you know what type of music to play then? Honestly, use common sense. You know the demographics and the most popular genre of music in your areas better than me. If you still have no idea, find out about the local popular radio station and listen to it for a while. I live in the New York City Area and I understand how important it is to own a lot of the popular songs on the radio.

Usually the songs that are played on the radio stations in my area are also found on iTunes top songs list. I always make sure that I have most of the top songs from iTunes, unless I really think the song stinks. I keep my parties clean, so I don't usually download anything with inappropriate language for any of my DJ mixes.

When I DJ any type of Teen party/dance, many of the top iTunes songs usually serve as a pretty good play list. When I am doing a party for teens and adults, like a bar-bat Mitzvah, I'll play a mix of current pop music and then a mix some older classics for the parents, which I'll get into a little later. At parties like Bar/Bat Mitzvahs you'll probably have just an many adults as kids, so try to accommodate the parents while the kids are off playing games or eating.

Another music trick that may accommodate both adults and kids/teens is to get a list and play songs from Guitar Hero and Rock Band. Because of these popular video games, I am finding that many kids are more versed on classic rock songs that some adults. Some songs may not be appropriate to include in your DJ Mixes. You'll find bands like The Who, Bon Jovi, ACDC, Boston, Queen, and more! If you don't want to choose the exact songs from Guitar Hero or Rock Band, consider playing other popular songs from these artists.

When you are deciding on songs to include in your DJ Mixes, consider your guests and work from there. For Kids/Teens/Young Adults it's pretty safe to go with recent Top 40 songs. If you are playing to adults, play some current songs and find a playlist of top 100 songs of all times. If you are playing to a mix of all ages, don't be afraid to play Top 40 Songs and Top songs from all time. There are lists for all types of music! If you are considering playing at a Club, first find out what type of music they might prefer (i.e. house, techno, trance, lounge, electronic, etc.) and then fill your music database with that type of music.

My final and most important suggestion is to check with the client. They are usually happy to discuss the event with you and recommend certain Genres and Style so you can create the perfect DJ Mixes for the party.

Learn How to DJ the professional way at http://www.howtodjpro.com/ and get your FREE Newsletter INCLUDING Party Set-Lists, dance mixes, top songs info, links to equipment prices and reviews, and so much more to ensure maximum success and quality for DJ's at all levels. Don't be left behind your competition! My name is John peterson (DJ Masterminds) and my focus is your dj'ing success!


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Sunday, July 17, 2011

Your Private Home Studio - Why Do-It-Yourself?

We live in a realm of audio, don't we? Part of that audio is voice, other part is music and much of it is just....noise, right? But regardless of what kind of sound it is, recording and editing it so that it fill a certain purpose is a big enterprise called.......professional recording.

Traditionally recording was finished in commercial recording studios. At the beginning of the 'business' area of recording, there was fundamental expertise and expensive gear involved so logically doing it in one's home (AKA: DIY home recording) wasn't widespread at all. Nonetheless that's transformed.

Currently the tools associated with recording music, voice (and noise) has gotten more compact, more sophisticated and (thankfully) cheaper. Basically home recording turn out to be automatically within reach of ordinary people with average funds.

Note: Sure...there's always 'high-end', 'cutting edge' home recording technology available to choose from, though that's not the thrust of the article. So let's first realize that it's not complicated to buy the home recording equipment anymore. Not only is current gear so much more obtainable but, frankly, there's lots of excellent quality used recording equipment available on the market too.

Hence, that being the case, why would you want to create a home recording studio? Or put another way...why would you choose to go to all that hassle of gathering the cash, taking a bit of time to construct a home recording studio, learning how to do the parts of process that you have no idea how to do?

There are certainly a lot of good reasons to build a recording studio yourself but we're going to mention 8 of them in this article. And keep in mind that these factors, or advantages, relate to you equally whether you are an instrumentalist, a singer, or a voice-over actor.
Having the ability to schedule your home recording studio time with your personal bio-rhythms quite often entails your performing better....creating a better finished creation. You in most cases can't do that when you're at the mercy of a hired recording studio.
If you decide to cancel a formerly planned recording studio session, you don't lose any cash. Consider this...if you and your crew rented a little recording studio time and all of sudden one of the members has to back out....you probably just have to 'eat' that unused studio time, don't you? If it's your studio....you would not.
You are not shelling out money to practice. You can perform (or have fun) as much as you wish in your personal home recording studio without paying rent. It's a flat investment anyhow, right? If you're a band, renting a commercial recording studio to practice, you solely get paid when you ultimately write a certain amount of final tracks that get sold someway. It's a long process that costs you every single step of the way and only pays off if you make it to the end.
A lot of music and sound designers have tools they like better over other tools. You never know what you'll find in a rented studio. With your own home recording studio you acquire what you need (because you get what you desire).
You arrange your use of the studio for the times you desire to work. It's not the same as #1 earlier for that refers to the most effective time to play your best. This advantage applies to practicality of utilizing the home recording studio on one occasion vs. another. If you got an additional occupation you could be going up against with others for studio rental 'after hours'. If you own your own private studio it's no hassle. In addition, even if you don't have a 'day gig', it's always pleasant to have the ability to arrange your producing sessions according to your available time.
In a sense, it amortizes itself....i.e. Every time you put it to use, you're preserving cash you'd have used up in hiring related facilities. It's an excellent feeling to 'spend just as much time as you want' and not concern yourself with the expense.
You do not need to drag all of heavy equipment all over just to go to a practice session. This advice only relates to bands obviously, but still...it's a biggie.
If you ever become a home recording studio owner, you can turn around and make revenue off it yourself just like some of those studio rental guys used to make off of you. Fair's fair, right?

Creating a good, home recording studio isn't quite hard and it should be the goal of just about every musical performer. You can find additional suggestions around to help you get it done too. If you have been thinking about it.....get going!

Discover all about setting up you own home recording project studio. Learn the secrets of commercial recording studios and design some sounds.


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Cons Against Signing A Rap Record Deal

Hey whats good... I want to talk to you about record deals.

A lot of my friends are trying to get signed to major labels. I tell them do not do it because I feel in this day and age that is one of the worst things you can do for your music career. The independent movement is popping right now, you can now make tens of thousands and even millions digitally through iTunes or on your own website. In Today's Industry more and more independent music artists than ever are living off of their music and living their dreams.

First ask yourself what is a Record Label? Its basically two things: it is a loan company and a marketing company. They provide you with a loan and they market you to the world. A major label will most likely give you a 360 Deal which means they own rights to your masters, almost all the income made off record sales, shows, and merchandise.

Here is an example of how the shadyness goes down

Lets say an artist goes gold (certified gold = 500,000 units)

Record labels are giving the artist around 13 percent of album sales. So going gold would equal $480,000. Looks like you caking right? Wrong

Lets say the record label invested $100,000 in marketing and promotion now you are down to 380,000.

Now take another 70,000 (For an advance and studio time) now you are down $310,000. Note half of that $310,000 goes into reserve for 2-4 years.

And on top of that 20 percent goes the manager.

So the artist really gets $19,333 for going gold. (That's a raw deal!)

And 2-4 years later if they recouped they get another $63,000. And if you don't recoup you are in debt and the money will be paid back on the second or third album.

Also major labels "shelf" artists who do not want to put out that garbage we hear on the radio. The only music that is selling on a mainstream level is cookie cutter party/dance records. These songs don't have positive intention behind the music its just B.S. put out to make some money. And unless your willing to sacrifice your creative ideas to make those songs you probably wont even get signed in the first place.

All in all you do NOT need the major labels. They take advantage of you and force you to put out the kind of music they say so. What you need is you need a support team, this includes a manager, entertainment lawyer, and an agent. Get a nice promo budget and good music and you can live off music with no problem.


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How to Be a Singer - Developing Perfect Pitch

For your journey to becoming a good singer, a very important skill you have to develop is the ability to identify specific musical notes... or what professionals would call perfect pitch. Most people would say that the skill of having perfect pitch is something only certain individuals are born with, but recent studies and testimonies have proved that theory to be wrong.

Perfect pitch is something you can develop with persistent practice. To acquire this skill, you're going to have to undergo intense ear training. Training your ears to identify different sounds and musical keys is important for speeding up your learning experience. If you can identify a note without resorting to the aid of a musical instrument to find that note, then you've saved a lot of practice time, which you can use to spend practicing on other techniques.

To begin your training for acquiring perfect pitch, you'll need a musical instrument (a piano is highly recommended). Choose and focus on one common note, a C or G perhaps. Play that note constantly while keeping your eyes closed and try to absorb it into your mind. Associate that note with something that could trigger your thoughts, like an experience, color mood, or name. Internalize the note. It's good to also try to relate the note with the starting note of a song you're trying to learn, like C in the Happy Birthday tune.

Don't try to focus on tagging a label for that note if you really can't think of anything to associate it with. What's important is for you to take in the nature and melody of the note. It's highly advisable to continue on with this practice technique even when you're not in an actual practice session. Just keep on thinking of the note, or humming it inside your head as you go about your daily business.

You could also try singing back melodies from songs you've heard of before. Using a portable music device like an mp3, you can play a part of a song, pause it, and sing it aloud to help yourself familiarize the notes you heard. Doing these exercises would not only help you recognize tone and pitch, but could also help you from transposing from one key to another.

Getting an ear training software and installing it into your computer is also a good idea. Try searching the net for that, and get one step closer to becoming a good singer.

There are many resources on the web that offer quality singing tips. In order to find the best singing tips and learn expert advice on how to sing, research about the page author's experience as well as his competency in the field of music and singing. This way, you know you are not being deceived into getting a lot from them and yield minimal to no results.


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Wednesday, July 13, 2011

Choosing the Right Hip Hop Instrumentals for Your Album

Amateur producers blast the volume of their projects. It may entice you. However, when you get to the studio, the high volume will allow little room for your vocals.

Also, when choosing professional quality hip hop instrumentals, it will not be the producer that makes the hit but rather the artist. Your emotional content and character MUST be completely exposed in your performance in order to get your audiences attention. Learn to express yourself accurately. Do not be someone else. In the end, you will thrive because of your uniqueness. You will fall short of your goals if you are the same as everyone else. If you have a choice to pick a silver chain or a silver chain, which one will you choose? But what if the choice is to choose a silver chain or a gold chain? This is how the market works. You should also be choosing your beats the same way. They should be all original.

Don't settle for mixes that are high priced. It probably took minutes to produce the track but you are charged a fortune for it. Look for original hip hop beats only. And don't worry about someone else leasing the same beat.

That's why you choose an underdog producer. Remember, there are thousands of great producers. Only some are greatly exposed resulting in their beats being highly circulated. Find an underdog that suits your style and stick to him/her. You are more likely to get special deals.

WORKING WITH YOUR PRODUCER

Once you have a producer who you are satisfied with, work with the producer for more deals and more instrumentals for your projects. Still shop around. You need to do what you have to do in order to complete your project(s). Just make sure that you take full advantage of your producers deals. Learn to negotiate and be reasonable. Remember, a true hip hop beat takes time when composed from scrap. I've heard of producers saying that you should produce 5 beats a day! I've been producing music for 17 years and 4 years professional. Trust me. At that rate the producer is very likely to be welding pre-made clips that take very little time. I've even heard clips on mainstream artist songs! LAZY! LAZY! LAZY!

BEATS WITH HOOKS

Don't always look for beats with hooks. It does too much work for you. Learn to explore your talent. After all, you are an artist. So be an artist. Learn through discovery and practice. You'll be amazed what you can achieve when you find yourself. Also, it will give you an open door to find someone who may be gifted in singing if you simply do not possess the skills. You might even have a friend who can do it.

IN CLOSING

Thank you for reading this information. I want to be able to help artists who need direction. I hope that this has helped you in some way. Good luck on your journey to becoming the next hot artist!


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Tips For Making It Big in the Music Industry

Make A Quality Product

If the first time you hear your finished song and you have to convince yourself that its "OK" and you not jumping up and down with excitement, throw it out, yea that's right start over. If You can't convince yourself its the best song out how do you expect to make someone else believe it is. You are always going to be your biggest critic.

Get Heard

There's no simple solution to this basically exhaust every avenue possible. Shows at local clubs, MySpace, Facebook, Twitter, the many music dedicated web communities, and even passing your cd out on the street. If you actually have the talent or even something catchy SOMEONE will notice and it wont be long until people come looking for you instead of the other way around.

Representation

Once you've created a decent buzz get legal and professional representation to further your own professional growth. Without it chances of getting taken advantage of are higher. Plus most labels don't accept unsolicited material (content not negotiated with reputable manager). ALWAYS record any monetary transactions and have it signed by both parties.

Presentation

Make sure all CD's have a label and look professional (first impression is everything). Make a press kit containing bio, events, and anything else possible to present yourself in an enticing manner in the labels eyes.

Promote

Keep promoting just as before but now start your demo submissions to major record labels. Just a quick search on Google you can find the address, emails, and even phone numbers to some of the best labels.

Don't be modest, its your JOB to convince everyone the NEED to listen to you. If you don't have the persistence and backbone to take denial then this is not for you. Keep your fans up to date if all they hear is the same thing all the time they will lose interest so keep your content fresh without giving them too much. You want to have songs on reserve to show a variety and to keep your audience be willing to pay for more.

ALWAYS READ

Have Someone that understands the legal terms on any contract to aid you in the negotiation. Most standard contracts have so many loop holes it can screw you in the end.

Remember: Any tips given here all depend on YOUR work ethic there is no miracle way to get signed it takes hard work and determination as well.

Hope this helps!

Aljehr also knows about hip hop image and producer honesty.


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4 Key Factors To Successful Record Label Management

The recipe for a successful record label, no matter how big or how small, involves many ingredients. Too many to mention here but if you had to narrow it down to the most crucial points you will find the following key ingredients to successful record label management.

Having Talented Music Artists On The Roster,The Resources Available For CD Production,The Power To Distrubte Music Straight Into The Consumers Hands,The Ability And Resources To Successfully Promote Music Artists.

1. Recording Artists

Number one on the list to running a succesful record label is to have a talented roster of music artists. This not only involves finding extremely talented artists with commercial potential but also establishing contracts between the two, where the two party's involved are both happy with their part of the agreement, thus resulting in an extremely harmonious and rewarding relationship.

The contract between artist and label should cover topics such as album production fees and spending budgets, recoupable revenue from sales of tickets, albums and merchandise etc, distribution of music royalties as well as possession of publishing rights and profits.

2. CD Manufacturing

It is usually the role of the record label to take care of the manufacturing of records and Compact Discs. If you are planning on setting up a record label you should be certain to possess the resources available to create and manufacture your artists' music. After all this is an important part of making money for your label. If you are only a small-sized label you can find CD manufacturing plants which will meet the needs of smaller sized record labels and even offer pressing discounts that come with product packaging and art work at affordable rates. Now a days this whole process can be avoided due to the popularity of digital downloads.

3. CD Distribution

Distribution will get a label's music straight into the palms of consumers. Distribution is paramount to earnings for any recording label. With regard to physical goods like CD albums, you must get them straight into retail stores and then directly into the hands of shoppers. With regard to downloadable music, you should make your products there for web sites (such as apple iTunes) which will sell the songs on-line. Direct selling is one other money-making path for a music label in selling their music.

4. Artist Promotion

Promotion is yet another crucial component to generating product sales. The music label utilizes mass media outlets such as music publications, web sites, radio campaigns, live performance tours and private appearances. You should understand the actual demographics for your niche and after that market appropriately. A solid marketing and advertising campaign will enhance ticket and record sales.

If you found this songwriting article interesting and would like to learn some more tips and techniques then why not check out Free Songwriting Tips.

Craig S.

http://www.world-of-songwriting.com/

Professional Songwriter & Musician.


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Hip Hop Image

Image Is Key

So you wanna be a superstar? Have you really taken the time to know what this takes? Well first and foremost to reach superstar status you have to know yourself as a rap artist or even as a producer (yes producers need an image as well). Ask yourself, "how do i want to be remembered?" Many rap artists will put out out just about anything and call it "diversity". Not exactly a bad thing, but too much of it can cause confusion with your audience and can potentially lose you fans in the long run. The key is to find an area where your style and a little diversity can combine and find a balance.

Who Are You?

Not only who are you as a rapper, you really do have to know who you are all around. Making music is a way of opening up in a way you couldn't anywhere else (if you don't know what I'm talking about this probably isn't the blog for you). The image you portray makes or breaks your music career in the long run. You have to always remember, your fans will want to know more about you so keep it 100% real from day one and your fans will stay loyal for the entirety of your music career, fill your music with stories and you will discredit your future work. i.e. if you live in the suburbs, stray away from saying your from the "hood" or your a killer and if you work at McDonald's don't lie about the money you don't have. You have to really consider what you can offer as an artist and how you want to be viewed during the course of your career. Be creative, take chances, the next big thing is always created by the person who did what everyone else was scared to do and what no one thought would work.

Being cocky isn't always bad

Don't get me wrong, don't become arrogant. Just adding some "edge" to your music attitude makes all the difference. The only way to truly become the best is to actually believe you are, point blank. Confidence shows and it commands attention, nobody got anywhere second guessing themselves. If you don't like something you wrote.....trash it!....you have to be hard on your self. Don't let a song your not sure about come close to any material you promote, bring your "A" game.

Something to remember: This is a business of selling yourself, it's not enough to make good music you have to make the people WANT to hear you.

aljehr also knows about hip hop image and producer honesty.


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Playing the Guitar As a Hobby in a Down Economy

Although a bad economy may have some negative effects, a lot of people realize that there may be a lot to learn from a positive outlook in life. Throughout the years, there have been some interesting findings in terms of the music industry and music equipment. There are many factors including financial, emotional and economic influences which determine how we feel on a daily basis. Musicians have known for years that playing music plays an important role in living a higher quality of life.

Since they have been around for centuries, guitar playing is an important pastime for a lot of people. Although professional musicians make a living playing their instruments, the majority of musicians play as a hobby and enjoy entertaining others. Whether rich or poor, people feel the need to connect with each other and music has filled the need for many in both good times and bad.

One of the most influential genres of music emerged from some of the absolute toughest times in modern history. Take blues for example. The blues emerged from the hardships endured by generations of African-American slaves which has evolved over time to encompass varying styles and modifications. Guitar playing, to these hardworking musicians was a method of expression which, even in hard economic times, allowed people to connect and press on in tough times. While the initial founders of blues were mostly poor, the music industry and world as a whole has greatly benefitted from these pioneers.

Although the blues originated from mostly desperate times, there have been recent years where pop music has been dominated by loud guitars and heavy tones. Take the 1980's for instance. There was an abundance of excess from the guitar players and musicians during that time. Rock music often consisted of extravagant, live stage performances with crazy charismatic characters and wild wardrobes. No expense was spared in putting on a performance involving pyrotechnics and bizarre costumes. The tone of the music was different, too. Songs were written by guitar players involving fast cars, living on the edge, drugs and alcohol, not to mention an extreme lifestyle.

Buying patterns can be different among various economic conditions. When times are good, one might want to choose a guitar as an upgrade for an existing guitar or may choose to buy out of want as opposed to need. A guitar player may have grown up playing a 6 string guitar, however, may decide to take on an additional instrument such as a bass guitar.

When economic conditions are less than favorable, the thought process may be a little different. If one is looking for an alternate, cost effective hobby, investing in a guitar may prove wise considering how inexpensive guitars have become. A high quality electric or acoustic guitar could last a lifetime with proper care and maintenance. Not only does playing the guitar provide for personal growth and enjoyment, but can also lead to higher self esteem and a sense of accomplishment by dedicating efforts in honing your skill. When considered against other hobbies such as movie going or dining out, a guitar can make excellent economic sense.

Even in varying economic times, music has played a critical role in improving the lives of millions. Playing the guitar can be a great hobby or can be developed into something much more personal and financially rewarding. There are a number of scenarios where guitar players turned to music and began a quest to master their guitar playing skills during financially struggling moments. While some were requested with personal growth and higher self esteem, there are others who went on to make a career out of playing their instrument. With strong desire and dedication, even the most desolate times can turn into an industry changing experience through creativity.

Read this Schecter Guitar Review, for tips and further information about a versatile or read this article for advice on Choosing a Les Paul or Stratocaster


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Friday, July 8, 2011

Are Exclusive Rap Beats Royalty Free?

Rap beat production is the creation of hip hop music. Modern hip hop production utilizes samplers, sequencers, drum machines, synthesizers, turntables, and live instrumentation. The music is best classified as having a highly rhythmic, drum beat, whether by itself, dubbed over sampled music, or played along with live instruments. Many producers try to get the attention of listeners with melodic rap beats and instrumentals.

There are many different types of genres in rap music like Dirty South, Vibe, West Coast and Underground. The genre rhythm and blues (also known as R&B or RnB) is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.

Vibe (alternative jazzy hip hop) rhythms have been typically those of hip hop rather than jazz and uses repetitive phrases of jazz instrumentation, such as trumpet and double bass.

Hardcore is characterized by its minimalistic beats, gritty drum sounds that are often sampled from vinyl, occasional urban jazz and horn samples, and haunting string and piano melodies.

There are a lot of online music stores where rappers can buy instrumental beats for rap music. Those sites are selling beats with exclusive rights, but are they really royalty free? Most of the time beats on online music stores are from producers who have a lot of experience, so many instrumentals are of high quality. Professional beat producers can upload their beats to many sites, this is the reason why selling and buying beats online can be very easy.

Exclusive beats can be used for new works that will be performed live or submitted to radio stations. The producer will get 50% of the writers credit for the completed song. The creation and copyrights remain in the possession of the producer who created the beat. So exclusive beats are not royalty free.

The non-exclusive beats offered on most sites are not for commercial use, but customers can use them to promote themselves. Artist want a good sounding demo, so they usually want it right the first time when they sell themselves to a recording company. Customers can download a beat, record their vocals, send it to the recording company's and they are done. If they are lucky, the recording becomes a hit. Then customers can purchase the exclusive rights for that beat and it will be removed from the site. Only that customer and no one else have the right to use the beat for commercials or radio.

Marcel finished the school for audio engineering (SAE) in 2005 and has a lot of experience as a musician. He is the owner of HotBeatStore.com and MoSound Productions.


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Poor Man's Copyright - What It Is And How To Do It

Before we go any further it is important to realise that I am not a qualified music attorney and this method of copyrighting has a lot of debate surrounding it as to whether it does actually hold up in court. Therefore, I am merely going to explain to you how it works and how to do it, it is up to you what you do with the information I provide. You should always seek the advice from a professional music attorney about serious matters!

So What Is Poor Man's Copyright?

Poor man's copyright is a way of copyrighting your songs on the cheap by using registered post.

How Does Poor Man's Copyright Work?

The theory behind it is quite simple. When you send anything via registered post the envelope is dated and sealed with a security sticker. So what you do is place printed lyrics, a CD with your song, info about the songwriters and the date of creation in an envelope, post it to yourself via registered post and then store it somewhere safe. Once the seal isn't broken then you have proof of possession for what ever is in the envelope.

How To Do It?
Put the song that you wish to copyright into an envelope (CD or mp3 as well as the lyric sheet and info about the songwriters and date of creation).Seal all the material in an envelope and your home address on it.Go to your local post office and mail the material to yourself by using your country's registered postal service.When it arrives put it somewhere safe and DO NOT OPEN IT! (if you do open it then the seal becomes broken and it becomes worthless)If someone plagiarises your material then you can bring the envelope to court and use it as proof of creation.

Flaws Surrounding This Method Of Copyright

This is not the legal way of copyrighting your music and to date there have been no cases of this actually standing up in court. The main reason why this method is so flawed is that it can be faked.

Your probably thinking to yourself "Why would I bother if it doesn't actually hold up in court". Well I can see your point but what a lot of songwriters do is use this method while they are waiting for their real copyright to go through the copyright office. This gives them a bit of reassurance should they want to post their songs online, etc., while they are waiting.

If you found this songwriting article interesting and would like to learn some more tips and techniques then why not check out Free Songwriting Tips.

Craig S.

http://www.world-of-songwriting.com/

Professional Songwriter & Musician.


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The Wichita Lineman

My family did not travel much when I was a boy in the 1960s. We lived in the Bronx and spent summers at a bungalow colony in the Catskills. That was about as far as I got until the day I left for college in Montana.

But I still saw a lot of America during those childhood summers in upstate New York. Not on television; we had no TV in the bungalow. I got to know the country through my radio and through the jukebox next to the bungalow colony's soda fountain, both of which played a lot of Glen Campbell's music.

It seems a little odd, looking back on it. We were just two hours' drive from New York City, which could not then (and cannot now) sustain a single country music radio station for very long. The Catskills were still known as the Borscht Belt, for the Jewish comedians who came up every weekend to play the hotels and the bungalow colonies' gambling-free "casinos" while our parents dined (they would have said "noshed") on smoked salmon and whitefish. These were the summers of love, and then Chicago, and then Woodstock and Apollo 11. Vietnam tore the country apart. Even the music of the day often had an angry tone.

Yet a soft-voiced, boyishly good-looking country singer who favored mod jackets, turtlenecks and longish but safely above-the-shoulder hair bridged the gap and found a niche amid all the rock 'n' roll and rhythm and blues that everyone said they wanted to hear. New Yorkers, it seemed, had a soft spot for Glen Campbell. Or at least the mothers at the bungalow colony, who stayed with us kids all week while our fathers were at work back in the city, did.

His songs showed me parts of the country I had never seen through the eyes of people I had never met. There was the Wichita Lineman, toiling under the blazing sun of a prairie summer as he pined for a lost love and a few days off. There was the man who shared his California life with someone who no longer noticed he was there, until he comforted himself with the thought that she would miss him "By The Time I Get To Phoenix." There was the soldier, "so afraid of dyin'" before he could return to Galveston, where the sea would wait for him even if his true love did not.

You probably heard that Glen Campbell and his wife recently announced, in an interview with People, that he is suffering from Alzheimer's disease. (1) The 75-year-old singer plans a farewell tour before retiring.

He joins a lengthening list of prominent people who, with simple dignity, shared the awful news that this disease would inexorably remove them from their own lives. Ronald Reagan told us in 1994, followed by Charlton Heston and R. Sargent Shriver. Being human, they must all have gone through the familiar stages of grief, beginning with denial, followed by anger, bargaining and depression. Yet they had the dignity and compassion to take us directly to the final stage, acceptance.

I left for college when I was 16. Two years later, an older cousin gave me my first car, a high-mileage 1972 Buick Electra 225 that a friend helped me drive from New York to Montana in two days. I've done a lot of long-distance driving since then, across the country several times, down the Pacific Coast Highway from the Golden Gate to Mexico, the length and width of the Great Basin, along the Gulf shoreline, and up and down the East Coast more times than I can count.

I met a lot of new people and saw a lot of new places in all those miles, but I felt at home wherever I went, and the people I met hardly ever seemed like strangers. Glen Campbell introduced me to America back when I had seen only the tiniest piece of it. He introduced me to Americans at the same time.

We talk and vote and sometimes seem to think differently, but that's just on the surface. I learned early that we are more alike than we realize. When we were divided over everything else, we all listened to Glen Campbell's music.

Source:
1) People, "Glen Campbell Has Alzheimer's Disease"

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Voice Reverberations and Multi-Track Speech Modification for Politicians

Most folks in the music profession know that there are tricks of the trade when recording music to lay down multiple tracks, which make it sound like the drummers or guitarists are abundantly talented, and able to do things that are nearly physically impossible. Well, did you know that often politicians' speeches at certain points have been modified to do the same thing? In doing so you will note a slight rattle in the voice of the politician when they are speaking about a very passionate topic.

Interestingly enough this triggers certain brainwaves in the listeners to become more attentive. This is because when someone is very passionate about something, people tend to listen. And when people believe in something very seriously with all their heart and soul, they exhibit naturally, this slight rattle in their voice. If you listen very carefully you will hear it. If you are not cognizant of this fact, it may go right by you, but that doesn't mean your mind will not be affected by it.

Voice reverberations and multi track Speech Modification for Politicians is a very valuable and powerful tool. Unfortunately it's been totally abused by some of the top politicians in the country. Those who work behind the scenes and do the modifications on the audio files know exactly what they're doing, "they know good and well" how powerful these techniques can be and the effect that they will have. This is of course why they use them.

In a way, it's similar to the challenges previously with subliminal advertising, which as you know has previously been banned. If and when folks wake up and realize what's being done, it is hard to say if they will request or demand that these tactics stop.

It does give a politician the unfair vantage, but I imagine in the future all politicians will use by using this audio trick. So, therefore there will not be an advantage. However there is a problem with this in that the candidate becomes more believable, even when they are lying, which politicians often do to get elected, and therefore it has an effect on the voting public, and it changes the way they vote and will give them false hope for change.

Not because the candidate is great, or lousy, but rather how the information was presented using psychological tricks of neurological function. If this doesn't concern you as much as it concerns me, then forget I mentioned it. But I see this as a problem in our future, and I already know of one candidate which used this strategy to get elected, and I noted this technique done on several of his speeches.

If a candidate is that great, they can stand on their own merit, they do need not to use trickery. I believe these techniques are unacceptable, and they will be abused in the future. Please consider all this and think on it.

Lance Winslow is the Founder of the Online Think Tank, a diverse group of achievers, experts, innovators, entrepreneurs, thinkers, futurists, academics, dreamers, leaders, and general all around brilliant minds. Lance Winslow hopes you've enjoyed today's discussion and topic. http://www.worldthinktank.net/ - Have an important subject to discuss, contact Lance Winslow.


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Females In Hip Hop

Artists such as Wu Tang Clan and Tupac Shakur brought international attention challenging militants to fight, thinkers to think, and DJ's to turn the party out. Rumors would say that the female artist surfaced during the course of hip hop's history. But the truth is the female artist arrived on the scene in the late seventies along with other male rappers. Lady B was one of the first female rap artists to record an album. When we talk about accomplishments, for a female hip hop artists to record a whole album not only proved to the world that she had skills, but potential to survive in a male dominated genre. Later on, other female rap artists would surface from the underground such as, Salt n' Pepper, The Real Roxanne, Roxanne Shantae, Queen Latifah, MC Lyte (first to get a major record deal), Lil' Kim, Foxy Brown, Lauryn Hill, etc... Although only a few surfaced from the underground, there are countless amounts of female talent that never made it into the big leagues. The question today is where is the variety pack? What happened to the female selection of hip hop CD's within the local music stores, or DJ booths? When a girl desires to hear what a female has to say about a woman's worth how can they find an album in which they can relate to?

Every female in the world has their own story. All women are not single or even desire to lead a single life. In fact according to statistics, 69.3% of American women have been married, divorced, widowed, or separated. 30.7% have never been married. With statistics rating so low, for single women it is amazing how most music is geared around those who lead a single and promiscuous lifestyle. When choosing a female hip hop artist that can relate to the real issues of life, record labels have failed us. There are countless amounts of men that do promote mental growth, knowledge, education, and understanding such as Common, Mos Def, 9th Wonder, and so forth. But today's female artist seems to be more materialistic and immature mentally. That's not to say that there are not a countless amount of men within the genre that are negative. But the fact is that there is a huge variety of men dominating the game on both sides, but few women are heard throughout the industry that promotes positivity through their lyrical content.

Hip Hop has become a league that's almost equivalent to the law firms and medical fields during the 50's and 60's when females within those industries were nothing more than litigation secretaries and nurses who by the way did most of the real work. The music industry in the US does not teach young ladies of the future anything about surviving life. They are being taught that it's ok to lower their standards in order to get ahead. Women are steadily promoted as booty shaking backup dancers, bitches, hoes, and materialistic self sufficient yet uneducated girls? Where is the realness in the industry that claims to keep it real? Although Rolling Stones Magazine crowns Nicki Minaj as the Queen of Hip Hop, it would be hard to prove that she is not due to the lack of competition. There are not enough female voices within the industry to even get the best results for the Best Female Rapper category during mainstream award ceremonies. When the majority talks about female rappers, we can only take a look back in times past to those that reigned well before this generation. If the female voice is going to survive within the world of hip hop, then they will have to present new faces that have never been heard or seen before. In times past, there were plenty of females who surfaced from underground. Of course, that was before capitalists and venture seekers got involved.

The fall of the Female Rapper

Most female artists in the late 90's were often portrayed by males as a promiscuous gangstress that would do anything to protect the man who disrespected her continuously by calling her names publicly such as bitches and hoes. Although a decade has past, not much has changed since that era. The female that is presented to the public today does not have a backbone of their own, and is often degraded by men and presented as modern day concubines.

Today, activists could compare the modern day mainstream female hip hop movement to Saartje Baartman. For those that do not know the history of Saartje Baartman, she was a slave from South Africa that was idolized because of the size of her buttocks. They were so amazed by her appearance that they offered to pay her as a dancer. If she went along with this plan, she would be able to raise money for the poor tribe in which she belonged. Instead they deceived her and used her for their own selfish agenda.

According to former South African President Mbeki,"What followed was five years of exhibitions in museums and at fashionable parties, her spectacular buttocks and breasts bare, French and British men and women clustering around her, mocking her at the same time that her body made them uncomfortable with their own desire. Her days were punctuated by rape and scientific examinations."

This is something that young black girls should be mindful of when conducting such behavior. Although the story of Saartje Baartman has been broadcast through stage plays, spoken word performances, blogs, and books, apparently it has failed to make its way inside the homes of urban women in America. According to African American history, black girls in times past have been blamed for rapes, abusive relationships, and accused of being weak willed and materialistic. When the popular culture promotes this type of image to masses of people, they give the world that same impression of urban women. That can be insulting not only to the average black female but her daughters as well. People perish continuously for the lack of knowledge. When they are not informed of the things that happened within their own history, they lose sight of their own cultural identity, and as an end result, they allow themselves to be used in a way that Saartje Baartman was used. Hip Hop labels, promoters, producers, managers, and so forth (black or white) feed young women false information on what it takes to make it as a female rapper. Their whole goal is to accomplish their own personal agenda. At the end of the day, when the industry is done using her, she is pushed to the side as if she is nobody as she watches mainstream producers and so forth gimmick her through someone else. (Lil Kim vs. Nicki Minaj) Even more than that, they monopolize from their so called beef. What's more disturbing about it is that even black people, some which are educated continue to promote this image because they see it as a step towards success for themselves and the African American Community. But how does this affect the black community? In the year of 2010, there were 434,758 live births from parents ranging between the ages of 15-19 years old. That's 41.5 live births per 1000 with African Americans having the highest rate according to the US Census Bureau. 63% of the teen population within the United States suffered an STD for the year 2010. African-American adolescents 13 - 19 accounted for 1,919 AIDS cases alone. (Respect Your Mind, Protect Your Body) Hip Hop Magazines, blogs, and so forth go out of their way to promote negative images of black girls because that's what's hot within the popular culture. Speaking out against things that affects the black community has become an act of hating and doing wrong has become the history of the African American culture according to the stereotypes that are often promoted through mainstream media. More than a few black men lead other cultures to think that it is ok to disrespect the average black girl in this manner. When others speak on it, racism is the levee that holds the propaganda in place which further gives political parties the motivation to mock blacks such as the President of the United States through stereotypes promoted in mainstream media. According to Eric Bolling of Fox News, Obama chills in the white hizzouze with thugs while popping forties.

Until the female rapper comes to the realization of how they are demoralized by mainstreamers, they will never develop a community like the males within the hip hop genre. Education is the key to surviving life. We would like to see the average female rapper not only become successful on the hip hop charts of America, but successful in all that they do in life. It is important for black women to stand up and speak out loud against those that market the negative images of themselves. Females need to create a movement letting the world know that they are much more than what is seen on television. All the way from Dj's, Break dancers to emceeing, women have proved themselves in times past to be just as talented as any male. But who will support the strong females of today? Who will support the talent that everyone claims does not exist, but has a large community underground?

There should be someone who can talk to the girl with low self-esteem as she is a part of this world too. There should be someone who can council the poor at heart through their music, or open the blinded eye. To teach each is what rap intended. It was not created just to rock a party, and for those who say so, I would question their passion and knowledge of not only hip hop, but life in general.

What does it take to succeed as a female rapper in today's industry? Lyrical skills no longer matter. In order to make it within the world of hip hop in times past you would have to have real talent. Now if a female artist puts on an outfit that promotes sexuality auto tune can make up in the areas where she lacks creativity. Lyricism no longer counts in a world that corporate America has taken over. It solely depends on how well you can dress or how much money you've made from your glorious hustling lifestyle. It seems as if women are no longer able to think consciously aloud. All black women are not uneducated, and many have decent paying jobs, college educations and live a positive lifestyle with her husband and kids. The big question is why do U.S. corporations continue to spread propaganda in hip hop/rap music throughout the face of the earth keeping urban youth subjected to an old crack epidemic lifestyle.

Simone Walker
Word Life Production
http://www.wordlifeproduction.com/

Word Life Production promotes cultural awareness within urban communities. We promote social change, social political justice, community empowerment, economic development, and diversity. Our mission is to teach members through our network how to establish themselves as an artist by providing them with resources, education, and encouragement with hopes that they will continue to work towards their goals. We also feature a host of unsigned talent that has already established themselves as Independent artists. We educate in areas such as small business management, communication, college success, and cultural awareness. To get involved please visit our social networking site at: http://www.wordlifeproduction.spruz.com/


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