| |
What You Need to Know
About The Music Business |
|
| Bling Bling, Bentleys and Cristal |
|
| You say you want to be a “playa” in the music business. You think you’ve got skills. You sing or you rap or you produce. Maybe you can do it all but you don’t know how to gain access to the people that can get you to the top of the game. I’m going to help steer you in the direction that will get you your chance. The road won’t be easy and you’ll have to do your homework. For all the glory (the Bentley’s, cases of Cristal, etc) this is a business. That’s right. If you want people to invest in you it’ll take more than a demo and some 8 x 10’s. I will give you some insights to access. There are books, websites and organizations you can join which will aid you in your ultimate goal of getting in the music business. I will give you an overview. |
| |
| How do I get in? |
| |
| There’s more than one way to get into the business. There are “indies” (small independent) local or regional record labels. These companies are more likely to listen to you and sometimes have agreements with large distributors when an “indie” has a hot artist. If you want to make records with national and international distribution you want to sign with a major label. There are five major companies Universal, Sony, Warner Bros, EMI and BMG. Some of these companies you may recognize, some you may not that’s because they may be parent companies of labels you are more familiar with such as Bad Boy, J, Jive, Def Jam, So So Def, etc. These big companies pull a lot of weight and do the actual distribution of the records worldwide. One of the problems is that over the years they’ve become more like banks and are now watching their bottom lines. I’m sure you’ve heard a lot about how they’re struggling and making cutbacks. This doesn’t mean you can’t get your shot. You’ll have to do better preparation. |
| |
| There is more than one way to get a record deal. The days of sleeping by the door are over. And don’t just send your demo. Some companies won’t accept unsolicited work. You’ve been told that your manager should shop your demo. Maybe you’ve been told an attorney should shop your demo. These can be helpful if your manager or your attorney is a major player in the business. If they aren’t, it may or may not make much difference. Singers and hip-hop artists living in an area with a significant population can approach club owners and perform showcases. Rock bands can play clubs and colleges. This is a way to polish your live performance, build a following and get some exposure. Use the Internet! Its one of the greatest tools you can have. It’s a low cost way to get information and access to a variety of resources. You can find professional organizations, books, management companies, publishers, etc. Amazon.com has several books that will give you a basic understanding of the various aspects of the business. Hit producer Kashif’s, “Everything You Need To Know About The Record Industry”, is a great book (www.brooklynboy.com). Other good books are, Donald Passman’s, “All You Need To Know About The Music Business”, and Daylle Deanna Schwartz, “The Real Deal”. Membership organizations offer critiques of your work. Some offer collaboration and advice on access. Some are listing services that offer access to produces and labels. Be careful. Some are reputable and some are trying to rip you off so check them out! Well-respected Organizations like NARAS (The Grammy People), BMI, and ASCAP offer workshops or showcases for aspiring artists. Yes they have membership fees! But your not getting in this business for free unless your dad is already a VP at a label, in which case you don’t need any help. |
| Artist Services |
http://www.taxi.com
http://www.tonos.com |
| Professional Organizations |
http://www.naras.com
http://www.grammy.com
http://www.ascap.com
http://www.bmi.com
http://www.songwriters.org |
| |
| What About The Reality Hype? |
| |
| Can I become a star by going on one of those reality shows like “American Idol?” Whether it’s “American Idol,” “Nashville Star,” “Popstars” or “BET’s Freestyle Fridays,” these events are very competitive and some times require the influence of a good manager to get a shot at trying out. These shows have been successful in getting exposure for the contestants, but (with exceptions) they are influenced by superficial perceptions of who will be a star. The acts on some of these shows are so polished they glow like neon lights! This may help them as performers but there’s very little art. If you think you fit the mold give it a shot. |
| |
| Sources And Selected Readings |
Baskerville, David, Ph.D. Music Business Handbook & Career Guide. 1995. Sage Publications, Thousand Oaks, CA. Kashif / Greenburg, Gary.
Everything You Better Know About The Record Industry. December 1996. Brooklyn Boy Books. Venice CA. Schwartz, Daylle Deanna.
The Real Deal: How To Get Signed To A Record Label. May 2002. Watson-Guptill Publications. New York, NY. Passman, Donald.
All You Need To Know About The Music Business. October 2000. Simon & Schuster. New York, NY.
Billboard Magazine MusicianÕs Guide to touring and promotion. Bi-annual. Billboard Publications, Inc. New York, NY |
| |
| Click here to get information on an ATA internship! |
 |
Thank you for choosing the
American Talent Agency. |
|
| |
|
| Music Publishing |
| |
| One of the most overlooked aspects of the music business by new artists is the importance of music publishing. If you are an artist that writes your own music or is self produced this can be an enormous advantage. It is generally considered a mistake to sign with a label before securing a publishing deal. The reason for this is that the record company will sometimes attempt to leverage what you make on the deal by trying to recoup the recordsÕ costs from your publishing. This is called cross-collateralization. ItÕs a rip-off! You could have a moderately successful record and wind up with nothing. Signing with a publisher first gives you the leverage of avoiding that, and having an additional ally in seeking a record deal. And if you signed with the publisher first youÕre more likely to make money with a moderately successful record even if the record company doesnÕt recoup. Publishers are always looking for talented writers because they need the income of a growing catalog. They are usually more accessible than the labels even though they are many times divisions of the labels. You can find an extensive list of American based music publishers at the MPA Directory of Music Publishers. http://www.mpa.org/agency/pal.html. The listing will include addresses and phone numbers. You should call before submitting any demos. You can find some publishers by using google ( http://www.google.com ) on the Internet because they have websites. Use GoogleÕs search engine to find them and see if they have executives you can contact. What about protecting my original songs? YouÕve probably heard of copyright protection. This is a simple process of registering your work with the copyright office in Washington D.C. You can register a single song or a group of songs all at once for the same fee. Forms and instructions can be found at the U.S. Copyright OfficesÕ website, http://www.loc.gov/copyright. |
| |
| Legal |
| |
| Many an artist has found themselves in trouble because of contracts theyÕve signed that ripped them off and turned them into nothing more than slaves. You know the stories and the last thing you want is to wind up on ÒBehind The MusicÓ as another showbiz casualty. DonÕt sign anything without first showing it to a real entertainment attorney. Any old lawyer wonÕt do. You wouldnÕt see an eye doctor to get treatment on your feet, so donÕt see a criminal or real estate lawyer for an entertainment contract! There are publishing contracts, recording contracts, management contracts and each of these has specialized aspects that only an entertainment lawyer would understand. ThereÕs an entertainment attorney somewhere near you. They can be found in the phone book and on the Internet. ÒThe Billboard MusicianÕs Guide to touring & promotion,Ó is a magazine published twice a year. It has the listings of entertainment attorneys in addition to record labels, managers and other resources. You can usually find it at Barnes & Noble or BorderÕs Bookstores. Another good resource is ÒFindlaw West Legal Directory,Ó http://www.directory.findlaw.com. This listing is like a national phone book for lawyers. Fees can be negotiated relative to what youÕre earning. You might think an attorney is expensive at this stage of the game but its better to take care of business now than to get shafted later. |
| |
| Managers |
| |
| You donÕt need a manager to get a deal. But a good manager can help a lot early on. This person can help with making contacts and promoting you to labels and producers. An experienced a manager can tell you what needs fixing. You and the manager should have a clear understanding of what the managerÕs responsibilities are. You can refer to the music business books I listed earlier. If you like a particular artist or their style you can look on their CD and see who their manager is. Some managers are approachable and will listen to your demo. You should not be paying anyone to help you up front. If the manager is legit they must believe in you and make money as you make money. If a manager offers you a contract, make sure you take it to an entertainment attorney first! This can have the same disastrous results as a bad record deal. WhatÕs a manager worth? Managers typically earn between 10% and 25% of an artists gross income based on the stature of the manager (or the artist) and the responsibilities assigned. A manager earns as the artist earns and takes his/her share off the top. This arrangement can be more complicated if the artist is signed to a management company that oversees multiple aspect of the artistsÕ career such as publishing, production, marketing, etc (all the more reason for an entertainment attorney!). |
| |
| Agents |
| |
| Traditionally known s a Òbooking agentÓ (in Cali a Òtalent agentÓ), agents are responsible for getting the artist performing work. They tend to want to work with established touring acts or acts with a current record in release. They donÕt get artists record deals! They can be local, national and international. Agents typically earn 10% of artistÕs earnings for a booking (this can vary). See the above listed books for additional info on agents. American Talent Agency only deals with artists who are established record labels or who are having extreme success. Be Creative Sometimes the best rule is there are no rules. IÕve given you a basic overview of getting yourself a break. But itÕs always a good idea to let people know you exist. Try to network at industry events. Go to shows and after parties. You can make lots of contacts. Repeated stories of hip-hop artists making mixed tapes and selling them on street corners have led to successful deals. Rock bands need to play out and build followings. Singers need to do showcases. If youÕre near the larger cities there will be music organizations (BMI, ASCAP, NARAS and others) with workshops and competitions. These are all good ways to get exposure. There are no guarantees. The biggest believer in you must be you! |
| |
| • |
Beat the street! Get out and network. |
| • |
Go to shows. Try to get back stage to meet managers or artists. |
| • |
Get on the air. Contact program directors at local station and try to get your music on the air. |
| • |
Go to local record stores. Some small privately owned stores let you sell your CD’s on consignment especially if you’ve built a proven following. |
| • |
Perform at showcases, clubs, and colleges. It helps to build a following to show your viability to record companies. Sell your CD’s at the shows. |
| • |
Go to music industry shows and conventions (Hip-Hop Summit, etc.). |
|
|
| |
| Believe! |
| |
American Talent Agency, Inc.
173 Main Street
Ossining, New York 10562 |
phone: 914.944.9500
fax: 914.944.9555 |
|
|
|
