Embracing the online music consumer - ilikemusic.com - new look, new focus, new era

Author: Anonymous

Source: free-articles



Southampton, Hampshire, UK โ€" December 12, 2002 โ€" Music in relation to the Internet is never out of the media for long. Whether about the huge rise in peer-to-peer file sharing, the slump in online retail sales, or the adoption of paid-for services and move by record labels and online music venues towards new licensing and digital distribution deals.



But while others are tightening their reigns or tentatively dipping their toes into the realm of digital distribution, one non-corporate website has been quietly brewing up a highly popular online music venue โ€" ilikemusic.com โ€" a UK online music magazine and directory that's kept afloat while others have sunk without a trace.



Having just relaunched the new look website, just over a year after launching at Music Live, complete with a fully editable back end database, the sites founders, James Suddaby (25) and Cheryl Rickman (28) are looking forward to 2003 as they move into phase two of their business plan.



By steering clear of the problematic areas facing dot coms (especially entertainment related sites), such as over-funding, large outgoings and problems with e-commerce fulfilment, ilikemusic.com has made it's phase one focus content not profit.



And now that the site has a good traffic base (over 2,500 unique daily visitors / 75,000 visitors / 1.5 million hits per month) and a huge stock of self-produced content, along with thousands of subscribers to their monthly newsletter, ilikemusic.com is now focusing on establishing partnerships and generating revenue, while remaining user-centric โ€" the mantra of it's success.



ilikemusic.com has been so popular because of its refreshing lack of corporate involvement, (set up by four music-lovers) its huge volume of self-produced content and its dedicated, albeit small, team.



โ€œWe've not tried to make a quick buck, we've tried to create a site that music lovers, musicians, DJs and unsigned talent will love, find useful and tell their friends about,โ€ says Director and Founder, James Suddaby.



โ€œWe've invested a great deal of our own time, money and selves into the website โ€" as a non-corporate entity, and are now looking to broaden the site's offerings with a range of new aspects: a revamped website, an online music store, content syndication services, music business information products and a download venue/virtual listening booth,โ€ he adds.



ilikemusic.com was recently ranked (327) above other popular music sites in the IMA People's Choice Award 2002 (where web users do the voting). The site was ranked above mp3.com (445), dotmusic.com (490), bbc.co.uk/radio1 (589) and contactmusic.com (890). The winning site was westlife.com, with artists sites taking up most of the top hundred sites. But ilikemusic.com have done well to stay ahead of the competition.



By providing music promoters and record labels with a platform for their new releases, and acting as a platform for unsigned artists, ilikemusic.com has built up quite a following. The site recently scored 9/10 on ITV's The Web Review.



โ€œThe music business, both online and offline, have swallowed recent information about music retail sales declining, and is starting to move forward to cater for the consumer. But that's something we've always done from day one,โ€ says founder, James Suddaby.



In the future, ilikemusic.com will be looking at digital download subscription services. And are keeping their eye on events in the music industry online.



โ€œOur priority in selecting a partner will be liberal licensing policies and broad selection of music,โ€ says James. โ€œWe're keeping our eye on the music playing field, to enter the market at the right time with our consumers always the top priority.โ€

โ€œOur initial aim was simply to build a massive stock of good fresh content, build up our visitor numbers and build relationships with people in the industry,โ€ says Editor and co-founder, 28 year old, Cheryl Rickman.



โ€œAfter all, we didn't have an offline business before setting up ilikemusic.com Ltd, so we wanted to build a good visitor base and massive content before entering into a revenue model โ€" one of our reasons behind funding the site ourselves and avoiding corporate involvement.โ€

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โ€œNow we've achieved our initial goal, we are ready to move towards a revenue model in 2003,โ€ adds Cheryl. โ€œThe first thing to do was to revamp the existing website with a content management system which frees us up to promote the site and set up partnerships. Our first one being with local web firm, Rocktime Ltd.โ€



โ€œUntil now our primary concern has been to keep content fresh and updated, and give our customers what they're accustomed to โ€" a huge array of content across the board and, in essence, a one-stop-shop for all things music,โ€ says Director of ilikemusic.com, James Suddaby. โ€œNow that we've been online for one year โ€" we are now adding site usability and interface design to our list of priorities, hence our revamped site that is getting fantastic feedback.โ€



And with 2003 fast approaching, ilikemusic.com will continue to embrace the online music consumer wholeheartedly. Bottom line โ€" if you like music, you'll like ilikemusic.com!



The Online Music Business Factoids for Editors:

ยท
31% of consumers download music and burn CDs often. These frequent digital music users buy 36% of all CDs.

ยท
One in three online Europeans has downloaded music from the net. These consumers exhibit an early-adopter profile but shy away from MP3 players, which still haven't caught the imagination of many digital music consumers.

ยท
There is a month on month growth of downloaders reported to have paid to download music.

ยท
Other factors come into play for the slump in music sales, including recession in economy, rise in competition for entertainment dollars (from music dvd and video games) and the limited access to new acts.

ยท
According to research by Forrester Research, by 2007, downloads will generate $2.1 billion or 17% of all music sales.

About ilikemusic.com

ilikemusic.com is a new online magazine, community, resource centre, directory and guide to all things music built by music lovers and one DJ for music lovers, DJs, musicians and unsigned talent, plus those seeking careers in music.



MUSICANS can:

ยท
Access the Make Music pages, including Hardware and Software Reviews, Links and Shop

ยท
Find links to Instruments, Sheet Music, Studios & Producers, Lyrics, Hardware, Software and Musicians Resources/Insurance

ยท
Read articles about Making Music



DJs can:

ยท
Mix music using the DJ Booth

ยท
Read reviews of Turntablism Championships, Videos and DJ Gear on the DJ page

ยท
Access articles on Turntablism and DJing and DJ/Production Tuition and courses

ยท
Find DJ Gear, Studios and Producers, Mix Tapes, Software and Hardware, in the Directory

ยท
Get featured on the Unsigned Soundstage



UNSIGNED acts can:

ยท
Get featured on the Unsigned Soundstage

ยท
Read about up and coming new acts getting their props

ยท
Access articles on how to get signed, promote themselves and get a record deal

ยท
Find links and resources to help promote their music online and offline

ยท
Download free music biz guides and record labels contact report

ยท
Post classified ads, chat with other new artists



MUSIC CAREER seekers can:

ยท
Find out about Music Courses and Career News on the career pages

ยท
Access free music biz guides and record label contact report

ยท
Read articles on the music industry and download a CV template



MUSIC lovers can:

ยท
Read the magazine and Find music: Dance, Indie, Metal/Rock, Pop, Hip Hop, Urban (Soul, R&B, Garage)

ยท
Buy music: CDs, DVDs, Merchandise, etc in the shop

ยท
Read interviews with their favourite stars and new acts

ยท
Get involved: send in their own reviews, photos, lookalikes, lyrics, taglines +

Buy boys toys and gifts for chicks via the directory, plus instruments, dj gear, studio time, hardware and software

ยท
Read live, album and single reviews, music news and features

ยท
Subscribe to their favourite music magazines and buy music books via the Magazine Rack and Bookshelf

ยท
Subscribe to the free monthly newsletter via e-mail



What makes ilikemusic.com different to array of music sites on the web is that there is something for everyone: music lovers and fans as well as unsigned bands and artists, djs, producers and songwriters. Plus the site is hugely user-led. Visitors have a voice too and can write and review for ilikemusic.com and can send in their letters, jokes, photos, resources, music and links. And there's the usual news, reviews, interviews and features too.

How to Get Free Legal Music Downloads - Really!

Author: Anna Rowe

Source: download



A question that is often asked from online music fans is how to get free legal music downloads. The good news is that it is possible, if you know where to look.
Many people search the Internet looking for alternatives to pay legal sites. But when searching online for Rhapsody, iTunes and Napster sites, you'll get millions of results which can become frustrating. Furthermore, when searching online for music download sites, it can be very hard to tell the difference between legal sites and file sharing sites.
P2P file sharing sites are confusing for many people because they make clear that they provide a legal service - which is true. But although P2P file sharing networks are still considered legal, it's how these P2P file sharing networks work that have gotten some people in serious trouble with the RIAA and MPAA.
Basically, anyone who is caught downloading or sharing copyrighted material could be sued by the RIAA or MPAA. And in more recent news, P2P file sharing companies, and individuals that encourage illegal downloads of music and movies, are now also being sued.
Furthermore, few people fully understand the hidden dangers and security risks of getting free MP3 downloads using P2P file sharing networks. These risks includes; adware, spyware, viruses, hackers and online privacy risks.
So how do you get free legal music downloads online? There are a variety of legal music sites that give you free mp3 downloads of cutting edge music, Indie music and up and coming new music stars.
Here Are 4 Popular Free Legal Music Download Sites:
1) Epitonic.com - Epitonic works mostly with small, independent record labels. Epitonic provides high-quality music downloads and a searchable database of "Cutting Edge Music" in a variety of genres including; Rock, Folk/Acoustic, Hip Hop, Pop and Jazz.
2) Garageband.com - GarageBand.com is a top independent music distributor and they feature popular free indie music. The site has thousands of Independent songs in their database that you can listen to, download and review. GarageBand's top songs are promoted by 1,000 radio partners and they featured music from Bo Bice (an American Idol finalist) before he was a big star.
3) eMusic.com - Although the subscription service is not free, with eMusic you can download free legal music when you sign-up for the free eMusic download trial. Emusic features over 600,000 tracks and hi quality digital music fidelity. Emusic provides the hottest legal music download trial online by giving you 25 legal MP3 downloads for free.
4) Amazon.com - Amazon provides free legal music downloads of today's top musicians. And it's easy to start downloading, just go to amazon.com and click on the "Free Downloads" tab where you can browse from a wide variety of music selections and popular artists.
Because new music downloads are usually always copyrighted, the sites above will most likely not have the latest new song downloads. However these sites provide a huge variety of free legal music downloads for you to choose from.
Article by Anna Rowe. Please visit her popular free music download site to get music reviews, MP3 download solutions and P2P file sharing facts. Learn how to download music legally and get free legal music trials.

The Confusions Pilot a Trampoline to #1 on MTV

Author: Anonymous

Source: free-articles



SUNDSVALL, SWEDEN August 22, 2004 -- THE CONFUSIONS โ€" TRAMPOLINE (On Air Date โ€" October 11,2004).



We are proud to present The Confusions successful fourth album Trampoline. The first single The Pilot went straight up to place number one on MTV's Nordic Chart and spent seven weeks on the chart. It has also been played extensively on Swedish, French, Finnish and Danish National Radio together with good airplay on the European College stations and even some daring commercial radio stations picked it up.



The band also did some gigs in the U.K. during the summer of 2003 and also returned in December for some more gigs and got great feedback, The Evening Telegraph wrote this about the โ€œTrampolineโ€ album with a four out of five review "Add these guys to the list of superb Swedish bands. They borrow from the past (60s Britpop, Bowie) without the self consciousness of their Anglo Saxon peers." During the spring 2003 The Confusions did a successful tour in the Baltic States, crowned with an exceptional gig in Kaliningrad, Russia.



The Confusions โ€œTrampolineโ€ CD has also been released in Taiwan and Japan and now its time for the US where the band also toured in 2000 and 2001. US reaction so far has been incredible โ€" Trampoline was featured on the front page of www.CDBABY.com in the summer โ€" one of the largest sellers of indie music in the US. The band is now working on their fifth album and also coming up is a German tour late 2004.



The band has been around for 10 years now with two of their previous albums produced by Peter Svensson of The Cardigans but really are experiencing their most successful time ever just now. Coming from the same neighbourhood they have grown up together both as people and musicians to form this fantastic band with a burning passion for their music.



The Swedish press have said the following about Trampoline:



TT Spektra (National news agency writing for about 60 local newspapers) โ€" The finest British sunshine pop available at the moment is made in โ€" Sundsvall, Sweden.



Aftonbladet (the largest Swedish national evening paper)- "Trampoline" is The Confusions brightest moment so far...



Sonic (the largest Swedish popmagazine)- Trampoline is a fascinating song cycle whose ambitious structure and a positive overall impression that brings the word โ€œconcept albumโ€ to mindโ€ฆ



Eskilstunakuriren โ€" โ€ฆyou come to think of Julian Cope when he was at his best.

American Press:



Reviewer:Tamara Turner, CD Baby



Just about as mouth-watering as Pop gets, The Confusions have whipped up a tart, juicy morsel that you can feel melt in your mouth, burst open like summer's best seedless grapes. Although they're from Sweden, you can smell the classic, swirling, neon-like, Brit Pop influence with a skyscraping ceiling, a sunken bottom-end and a taffy-like elasticity inbetween that gives these songs their huge, sweeping sound. It's hard to say whether it's you that becomes the puddle or if you're the cannonball crashing into their oceanic sound. Take note that if you're even remotely interested in the work of The Cardigans or The Drowners, look no further. This is the perfect bliss for Pop lovers.



www.cdbaby.com/cd/confusions



Reviewer: United Global Artists



PowerPop Brilliance ! Trampoline is a masterful work of Alternative-Pop-Rock.Chock full of compositional twists & turns. A fitting example of these Swedish Juggernauts.The Pilot is simply stunning !



www.u-g-a.com/confusions/main.htm



The CONFUSIONS are: Mikael Andersson-Knut โ€" vocals, guitar, Zarah Edstrรถm โ€" keyboards, vocals, Henrik Svensson โ€" guitar, vocals, Magnus Thorsell โ€" bass, Mattias Lรถfstrรถm โ€" drums



Visit The Confusions Website @ www.confusions.just.nu/



For high resolution pictures visits the Pressroom at www.massproduktion.com



For more information - please contact:

Bud Drago, Listening-Post Music, 610 363 0138, Bud@listening-post.com



www.listening-post.com/



Massproduktion

P.O. Box 377

S - 851 06 SUNDSVALL

SWEDEN

Phone: + 46 - 60 - 12 22 02

Fax: + 46 - 60 - 61 90 31

www.massproduktion.com/

United Global Artists

www.u-g-a.com

uga.music@sbcglobal.com

Red Jacket Returns To CBGB's

Author: Anonymous

Source: free-articles



Press Contact:

Red Jacket Productions

(917) 576-5642

famiglia@redjacketmusic.com



Red Jacket Returns To CBGB's



New York, NY (August 10th, 2003)-Red Jacket, the New York City based alt-rock band, will be assuming at the allegorical bedrock club, CBGB's, on Wednesday August 20th at 8 PM. Red Jacket delivers a bedrock n' cycle montage of brier time changes, accessory ambit arrange and anomalous addendum over pop melodies. โ€œ[This trio's absolute aptitude is affairs off Rush time change-ups beneath galvanizing Rust Never Sleeps wah-wah.โ€ (The Village Voice).



The name Red Jacket is adopted from the Native American Chief of the aforementioned name who lived in the Buffalo, NY area. Chief Red Jacket believed in attention his ability and blockage accurate to his own beliefs. This is aswell the aesthetics of Red Jacket's music.



Best accepted for bearing New York City Punk in the backward 1970's, CBGB's has maintained their acceptability of confined the best of rock's underground. The area has helped authorize the careers of allegorical bands such The Ramones, Talking Heads, and Blondie.



Members of the media can acquisition added advice on Red Jacket at the website www.redjacketmusic.com for accessible shows, biography, bandage photos, and music. Their admission EP blue-blooded โ€œMetaphorsโ€ can be purchased at www.cdbaby.com/cd/redjacket. โ€œRed Jacket is composing, structuring, coloring, and alignment music, putting something abnormal together.โ€ (Indie-Music.com).



Show information: CBGB is amid at 315 Bowery amid 1st and 2nd Streets. Take the 6 Train to the Bleecker Street stop or the F Train to the 2nd Avenue stop. The area blast amount is (212) 982-4052. There is a $7 awning charge.

Keeping The Music Alive

Author: Edward Szczepaniak

Source: ezinearticles.com



If you've ever downloaded your favorite song as an mp3, from whatever website, then you already know that the music industry is changing rapidly. Offline sales of CDs are dwindling, and while profits from iTunes and other online media, plus live events are growing, the gap has yet to be filled for major label talent. The RIAA is going through a painful metamorphosis in this new digital economy, and, unfortunately, has chosen to lash out primarily at their own customers as a result. This hasn't stopped many of the thriving rock bands and new acts on the scene from being profitable, though. It simply required stepping out of the old way and finding new avenues to generate money and support for the band. One way many bands are doing this is through sales of t-shirts.

In a WIRED magazine interview with the creator of The Pirate Bay, arguably the largest illegal download group on the net, the savvy pirate stated that offline sales of REAL products will be the key to the future of supporting art, especially digital music. Major label rock artists are suffering greatly from this concept finding fruition in the minds of the masses. While Axl Rose might appear on HMV's top ten best selling t-shirts list and sit atop a merchandising empire valued at over $100 million, most artist are signing merchandising contracts as horrendous as the record deals they make. They are being payed a large advance on t-shirt sales, of which they only get 2% of the revenue if they're lucky, which they have to recoup over the course of a record or tour. They are, thus, ending up in the hole.

Many indie bands, though, have travelled a different route. They are touring like mad and pay for gas and food on the road with t-shirt sales. They design and distribute their own merchandise instead of signing their rights away to a major manufacturer. Guns N' Roses bassist Duff McKagan spoke, "...with record sales slumping everywhere bands are figuring out other ways to make money on the road. So now, really, a record is sort of like advertising for your tour. That's where bands are getting smarter about touring economically, and paying more attention to merchandise and T-shirts and all that..."

Whatever can be said of the RIAA and the war against free music downloads, there are a number of bands which are finding that the sale of high quality t-shirts and other merchandise are keeping the music alive.

Ed Szczepaniak merchandising empire
(http://www.bandtshirtdesigns.com).

USA Songwriting Competition Selects Red Jacket For Showcase Series

Author: Anonymous

Source: free-articles



Press Contact:

Red Jacket Productions

(917) 576-5642

famiglia@redjacketmusic.com





FOR IMMEDIATE RELEASE



USA Songwriting Competition Selects Red Jacket For Showcase Series



New York, NY September 22 2003--The USA Songwriting Competition, the worlds leading songwriting competition, has selected the band Red Jacket to perform at their showcase series. Red Jacket will be performing in a rare acoustic format at Borders Books and Music on Friday, October 3rd at 8 PM. Based in New York City, Red Jacket delivers a rock n' roll montage of cleaver time changes, minor chord arrangements and dissonant notes over pop melodies. โ€œ[This trio's real talent is pulling off Rush time change-ups under galvanizing Rust Never Sleeps wah-wah.โ€ (The Village Voice).



The USA Songwriting Competition's showcase honors songwriters, bands and recording artists throughout the world. The Competition holds monthly acoustic showcases in 10 different cities sponsored by Borders Books and Music. More information on the series is found at www.songwriting.net.



Members of the media can find more information on Red Jacket at the website www.redjacketmusic.com for upcoming shows, biography, band photos, and music. Their EP titled โ€œMetaphorsโ€ can be purchased at www.cdbaby.com/cd/redjacket. โ€œRed Jacket is composing, structuring, coloring, and arranging music, putting something supernatural together.โ€ (Indie-Music.com).



Show information: Borders Books and Music is located at 550 Second Avenue between 30th and 31st Streets. Take the 6 Train to the 33rd Street stop. The venue telephone number is (212) 481-2913. The event is free.

Red Jacket Appearing at Arlene Grocery

Author: Anonymous

Source: free-articles



Press Contact:

Red Jacket

(917) 576-5642

famiglia@redjacketmusic.com





FOR IMMEDIATE RELEASE



Red Jacket Appearing at Arlene Grocery



New York, NY (March 12, 2003)-Red Jacket, the New York City based alt-rock band, will be performing at Arlene Grocery on Tuesday, March 25th at 8 PM. Originally a solo project by singer-songwriter-guitarist Lisa Bianco, Red Jacket has recently grown into a three-piece band with bassist Jairo Ruiz and drummer Holly Rock.



Red Jacket's music is a montage of primal guitar power rock infused with a sonic sensibility. The songs are confessional, cryptic, and heart felt. โ€œRed Jacket is compos[ing, structuring, coloring, and arranging music, putting something supernatural togetherโ€ (Indie-Music.com).



Members of the media can find more information on Red Jacket at the website www.redjacketmusic.com for upcoming shows, biography, band photos, and music. To request a copy of the โ€œMetaphorsโ€ EP contact the above listed e-mail address. The Village Voice describes the debut EP as โ€œalt-psychedelia with a bit of extra oomphโ€ and โ€œcontains lusher harmonies and guitar solos than you'd expect from a singer-songwriter.โ€



Show information: Arlene Grocery is located at 95 Stanton Street between Ludlow and Orchard Streets. Take the F Train to the 2nd Avenue Stop. The venue telephone number is (212) 358-1633. There is a $5 cover charge.

BEYONCE PERFORMS WITH LABELMATES DESTINY'S CHILD AT 27TH ANNUAL BRE MAGAZINE EXCLUSIVE MUSIC INDUSTRY CONFERENCE AND FESTIVAL IN WASHINGTON, DC

Author: Anonymous

Source: free-articles



Washington, DC August, 2003 -- With her debut solo album, Dangerously In Love, topping the charts across the country, Beyoncรฉ has lit a fire under radio airwaves and at retailers. The Music World Music Entertainment artist and actress will be performing for Black radio and retailers and her fans at an exclusive show during the Labor Day Weekend Black Radio Exclusive Magazine (BRE) Conference and Music Festival held in Washington, DC Thursday, August 28 - Monday, September 1, 2003.



Beyoncรฉ will be joined on Friday night, August 29th at Club Dream by Destiny's Child members Kelly Rowland and Michelle Williams for the group 's first reunion performance in the states in two years.



The 5-day/4-night BRE Conference & Music Festival opens Thursday, August 28, hosted by the Renaissance Marriott (999 Ninth Street, NW, Washington, DC. 20001 Tel. 202-682 3400) in the nation 's capitol. Special VIP guests and performers include; Beyoncรฉ, Destiny's Child (Beyoncรฉ, Kelly Rowland & Michelle Williams), Solange, Tina and Mathew Knowles, Sean Paul, Kim Fields, Shai, Impromp2, Congressmen John Conyers and Jesse Jackson, Jr., Donnie Simpson, Russ Parr, Roy Ayers, Virtue, David Gough, Sandtown, Nocturnal Rage, Hal Jackson, Aseni Shakur (Tupac Shakur's Mother), and many others.



During the conference panels will be featured on the business of music that include "Answering Radio 's Call," "Is Research Ruining Radio," "How To Get Rich Without Dying Trying (Growing Wealth)," "Adapting to the New Reality: Operating A Record Label Outside the Box," "Building And Financing Minority Broadcast Companies," "Distribution: Creating Pipelines," "Labels Reloaded," "The State of Independents, Part II," "Miss Understood 3," "Promotion Crossing Over, Under And Around: Get There Anyway You Can," "Fighting For Equity: Artists Speak Up," "Publishing: The Real Estate of the Industry " and "Chairmen of the Boards: Producers Run the Show."



BRE Conference 2003 chairmen--Music World Music Entertainment founder/CEO, Mathew Knowles and Big3 Entertainment and SouthPaw Management President Qadree El-Amin -guide this year 's 27th annual conference through jammin 'artist showcases, hard-hitting panels, a Mathew Knowles keynote, off-the wall parties and BRE 's annual Drummer awards that will be honoring Mathew Knowles,and others from radio and records with the nation 's top entertainers performing nightly, covering all genres of music from pop, R&B and reggae to soul, Latin, hip hop, gospel, praise & worship, jazz, nu-soul, and old school.



Beyoncรฉ,who is featured in the new Pepsi TV spot set to her single with Jay-Z,"Crazy in Love,"appears on the new summer television show on The WB channel, "Pepsi Smash,"as well as stars with Cuba Gooding,Jr.in the Paramount film "The Fighting Temptations " due in September. Paramount will be screening this film on Friday, August 29, with stars from the film including Beyonce, Faith Evans and others. Beyonce 's second single,"Naughty Girl," was just released, and she joins Sean Paul onstage after his show to perform their duet,"Baby Boy." Kelly Rowland, who stars in next month 's New Line Cinema "Freddy vs Jason "and has also signed on to star in the Will Smith/Jada Pinkett-produced indie,"The Seat Filler," releases a new single, "Trains On The Track," from her debut solo LP Simply Deep this week, while Michelle Williams readies her second solo gospel album.



BRE founder/publisher Sidney Miller, Jr. explains,"This conference reflects the rising spirit of the music industry as we reinvent ourselves as survivors. BRE Magazine," he says,,"started publishing in 1976, not too long after so-called 'race records 'were allowed to be on the shelves instead of under the counters. Music speaks a universal language that we all respond to," he declares, expressing a pride in being associated with partner Marc Barnes who operates the highly successful 4-story Club Dream in D.C. "Marc has a similar philosophy of pulling out all the bells and whistles on a project, so I am looking forward to presenting with him a phenomenal music industry conference and street festival that reflects our common ties."



BRE Magazine is celebrating its 27th year of weekly publishing as the nation 's premier

music industry magazine.www.bremagazine.com



Club Dream is located at located at 1350 Okie Street N.E.,Washington,D.C.

20002.www.welcometodream.com



For Press information:

contact Priscilla Clarke (Clarke & Associates, LLC) at 202-723-2200 or nebent2@aol.com



CLARKE & ASSOCIATES, LLC

2020 Pennsylvania Ave, NW, Suite 271

Washington, DC 20006

TEL. 202-723-2200, FAX. 202-723-4558

EMAIL: NEBENT2@AOL.COM


WEBSITES: www.nebentertainment.com & www.clarkepr.com



BRE Music Industry Conference Festival Schedule

Washington, D.C.-AUGUST 28-September 1, 2003

Labor Day Weekend



Theme: "Rising Spirit"



Working Schedule*

*subject to change



THURSDAY-August 28




12 noon Registration/Booths Main Hotel

1:30pm

Golf Tournament

Westfield's Golf Club

1:30-3:00pm Digital Downloading: The Battle For The Soul Of Intellectual Property. Is It Stealing, Sharing Or The Inevitable?




Congressman Jesse JacksonJr., How To Make It Happen. Too much talk and not enough bottom-line on what it really takes to move in the music industry

10pm-3am BRE Jump-Off Party

Artist Performances/Celebrity Guests



FRIDAY-August 29



9am Registration/Booths Main Hotel

10:00-11:30am Building/Financing Minority Broadcasting Companies. How an artist or personality can go from creating content to becoming a station owner.

Ronda Robinson - Moderator (TEC Law Group)

Dan Mason, Esq.

Greg Davis, Davis Broadcasting



10:00-11:30am Passing The Music Test: Making The Grade

Selector guru Earl Boston helps sort through the music maze. What is the right music for right now? What to do if there are too many ballads. He reveals how to set up artist separation categories and turnover ratios. What is the difference between tempo and intensity? These are other key questions will be answered, some of them for the first time. It's the music rotation story you only think you know.

Coordinated by Jerry Boulding, featuring Earl Boston



11:30-1:00pm Chairmen of the Board: Producers Run The Show





Coordinated by Sibahn Wicks

Rahman 'Rock' Griffin (Bow Wow, Monica, formerly SoSoDef artist)

Easy Tommy & Rich Harris, Witchcraft Ent (Beyonce, Janet Jackson)

Joe Kent & Mark Williams, The Trackboyz (Nappy Roots, Nelly)

Chesser & Gibbs, the Platinum Bros (Will Smith, Run DMC)

Daddy-O (Queen Latifah, Mary J. Blige, Jr. Mafia)



11:30-1:00pm Crossmarketing: Branding Music






Moderator: Marc Williams (Champs Sports

Sheri Huguely (Glue Inc.)

Jamahl King (STEPS Event Planning)

Clint Evans (Symonds Synergy Group)

Jackie Lee (Schieffelin-Somerset)

Felice Jones (NFL)

Judy Mauldin (SoSoDef)



1:00-2:00pm Paramount Movie Reception Main Hotel

1:30-3:00pm Shuttle to premiere Main Hotel Entrance

3:00-5:00pm The Fighting Temptations Screening
Georgetown Cineplex Odeon



6:00-11:00pm BRE/Dream Street Festival Club Dream Okie Street



Headliners: Beyonce and the reunion of Destiny's Child (Beyoncรฉ, Kelly Rowland, Michelle Williams) and special guest Sean Paul

1:00pm-2:00am Showcases



11pm-3am Let's Party! Club Dream/VIP Rooms



SATURDAY-August 30



9am Registration/Booths Main Hotel

10:00-12 noon Answering Radio's Call

Coordinated by Jerry Boulding. What are radio's needs for the future? What tools does Arbitron bring to the table? And what skills are future air personalities, program directors and music directors going to need in the age of group ownership and consolidation?



10:00-12 noon Government's Growing Impact On Radio & Music

With media consolidation, how will Black radio and Black music survive?

Coordinator: Mildred Morgan

Congressman John Conyers (D-Michigan)

Jenny Tooney, (Future of Music Coalition Organization)

Senator John McCain (D-Arizona)

Londell McMillan, Esq. (Londell McMillan, LLP)

J.R. Wilson, (Multiple Station Owner)

Jordan Goldstein (FCC)



1:00-2:30pm Publishing: The Real Estate of the Industry





Coordinator: Sibahn Wicks





Moderator: Cheryl Dickerson (BMI)


Keith Johnson, ASCAP


Billy Calloway, Hitco


Ethiopia Habtemarian, Universal


Leo Williams, Windswept



1:00-2:30pm Operating A Label Outside The Box: Creating A New Pipeline. The time is NOW for indies to step up and make a "hit" on the industry. What are the latest tools needed? Topics covered include distribution, marketing and promotion.



Moderator: Varnell Johnson (Fast Trak)

Qadree El-Amin (Big3 Entertainment/SouthPaw mgmt)

Ed Strickland (NuMillennium)

Dedra Tate (Flava Unit)

Dan Brown (Break Em Off Records)

Tommy Owens (Owens Entertainment)



2:30-4:00pm Is Research Ruining Radio? There are those who say that today's urban radio is over-researched and that this practice is delaying hits and causing problems. Independent promoters claim that even hits have to now wait for call-out research, which at best, tests familiarity. Familiarity cannot be established without a minimum number of daytime spins. This practice severely penalizes new artists.

Coordinator: by Jerry Boulding

Moderator: Kathy Brown (PD, WMMJ-FM, Washington, D.C.)

Reggie Rouse (PD, WPGC-FM, Washington, D.C.)

Tony Anderson, (Director, AIR Washington, D.C.)

Greg Williams (PD/morning anchor, KDGS-FM, Wichita)



2:30-4:00pm Ms. Understood: Women Drivers. It's still uncommon for women to be the anchor for afternoon or morning drive. These women have been there, done that, and been on top the ratings. So why aren't there more women drivers?

Moderator: Carol O

Porsche Foxx (PM drive, WVEE-FM, Atlanta)

Veronica Rio (AM drive/co-anchor, WCCG-FM, Fayetteville, N.C.)

Bo Griffin (former AM drive/now TV co-host, WPOW-FM, Miami)

Wendy Wheaton, (KJLH-FM, Los Angeles, CA)



5:00-6:30pm

Movie Premiere "Playas Ball" Lincoln Theater

7:00-8:00pm

Reception

8:00-11:00pm

BRE Drummer Awards Show

12:00-1:00am Talent Showcases

11:00-3:00am Let's Party!



SUNDAY-August 31



2:00-5:00pm Gospel/Jazz/Nu Soul Festival

Featuring Virtue, David Gough, Sandtown, Roy Ayers



8:00-3:00am Let's Party



Vital Info



For Conference Registration contact; BRE Magazine: 15030 Ventura Blvd, Suite 864, Sherman Oaks, CA 91403 (818) 907 9959/fax (818) 907 9958 www.bremagazine.com



Host Hotel Headquarters: Renaissance Marriott, 999 Ninth Street, NW, Washington, D.C. 20001 (202) 682 3400 www.renaissancehotels.com



Festival/Club Dream: 1350 Okie Street N.E., Washington, D.C. 20002 (202) 636 9030 www.welcometodream.com



Movie Screening: Loews Georgetown 14, 3111 K Street N.W., Washington DC, 20007 (202)342 6033



Ticketmaster: (202) 432 SEAT (separate Festival tickets only-Registration includes festival tickets) http://www.ticketmaster.com/venue/172329



Travel Partnersโ€"Ask for Exclusive BRE Rates from these vendors



Putnam Travel (800) 678 8626 x 1055 (Dee) or 1066 (Julie)

www.ethnotravel.com




AMTRAK (800) 872 7245 www.amtrak.com


JT Limousine Service, Washington, D.C. (202) 437 6579


R&K Limousine Service, NYC (888) 827 LIMO or (718) 763 5701 www.ranklimo.com

Two Easy Steps to Describing Your Band for Greater Web Traffic and More Fans

Author: Marc Gunn

Source: articleage.com



It continues to amaze my apperception how abounding bands don't yield the time to appear up with a appropriate description of their music. It's acutely important, and if you're business yourself online, it's essential.
So grab some paper, we're gonna actualize two simple bandage descriptions that will admonition you acquire you web cartage and admonition you with all aspects of your music promotion. Whether you're searching to advance your bandage to anyone in an elevator, on the buzz or appointment to a directory, these two descriptions will serve you well.
1. The Ten-Word Elevator Description
David Hooper of Kathode Raye music uses the appellation "Elevator Description" as a way of anecdotic your music quickly. Your Elevator Description is the words you would use in an elevator if you had to say what blazon of music you do quickly... in just ten words.
This ability assume like the most-difficult allotment about anecdotic your band, but it's aswell the a lot of advantageous all around. To do it, focus on an acute description accumulated with a account for your audience. I put this quick description in the aboriginal book on our homepage.
"The Original Celtic Renaissance music accumulation from Austin, Texas alms chargeless Celtic mp3 downloads."
Obviously it's not ten-words exactly. But it gets gets the point across.
Agreeable style: "original Celtic Renaissance music"
Location: Austin, Texas
Benefit: chargeless Celtic MP3 downloads
Short candied and to the point. Obviously, not anybody is as focused on downloading music. Coming up with benefits, but do some brainstorming and you'll acquisition your niche. Check out these descriptions:
The Rogues
A Houston based Pipe and Drum Bandage with an attitude.
http://www.therogues.com/
Gilli Moon
Melodic-Kinda-Folkie-Indie with a multi-layered guitar (and all-sorts) bank of sound.
http://www.gillimoon.com/
Mountain Mirrors
Psychedelic Zen Rock. Fans of Led Zeppelin, Pink Floyd or Spiritualized will adore this music. Chargeless MP3 Downloads!
http://www.mountainmirrors.com/
Add your elevator description to your "Description" META Tag. Aswell add an even beneath description in your appellation tag, and you'll addition your cartage for humans searching for those keywords.
Stay acquainted for Allotment 2 of "Two Easy Steps to Anecdotic Your Bandage for Greater Web Cartage and Added Fans."
If you're searching for added abundant web cartage tips for your music, David Nevue wrote the book on it, literally. See how he becoming over $4000 per ages axis music into a full-time profession. It's all in this book How to Successfully Advance Your Music the the Internet.
Bard Marc Gunn of the Brobdingnagian Bards has helped 1000's of musicians accomplish money with their agreeable groups through the Bards Crier Music Business and Advance Ezine and the Texas Musicians' Texas Music Biz Tips. Now you can get claimed admonition by visiting http://www.bardscrier.com for FREE "how-to" music business assistance.
No time to appointment the site? Subscribe to the BardsCrier.com broadcast account for Free. Just email subscribe@bardscrier.com

Grand Opening Online Source For Underground Music and More

Author: Anonymous

Source: free-articles



Manchester, NH June 23, 2004 -- There's a new connection in the online world of music sales.



Overlooked Creations, Inc., purveyor of underground, independent and unspoken-for talent, is proud to announce the launch of a new Internet-based retail outlet and an additional service to add to their online repertoire.



Headquartered in Manchester, New Hampshire, Overlooked Creations, Inc.'s latest venture will be run by music experts; providing music fans and collectors with specialized methods of finding the music they want.



Rated highly by supporters of independent arts, Overlooked Creations, Inc. recognizes that as Internet technologies emerge and obviously things in the music industry and climate are bound to change. However, the company has always felt that there will always be a demand from collectors and fans for those oft-elusive underground music items that are difficult to locate.



TheMusicHunter.com is to have all types of music, but the focus will be upon indie rock and power pop, two styles that are some of Jake's favorite (and coincidentally, quite popular at the moment) - power pop for many years before, and some indie as well.



The indie rock insurgence in the last couple years has really given the underground scene a boost. But don't despair, mainstream music will be offered as well, promotional and hard-to-find items included โ€" Jake is also a sucker for pop.



All operations for TheMusicHunter.com (plus OverlookedCreations.com and IndieRockCafe.com) will of course be based in Manchester for at least the next several years.



More About TheMusicHunter.com

The Music Hunter's goals are simple โ€" to bring the music, film (etc) and merchandise (memorabilia included) markets to the forefront of artistic sales. eBay will be utilized as an important tool in the selling/marketing process alongside the Music Hunter's own site sections โ€" as eBay is indeed the global marketplace for such things.



All press inquiries contact Overlooked Creations, Inc. โ€" call 603.262.2247 or email overlookedcreations1@hotmail.com.

Zallen releases Smudge

Author: Anonymous

Source: free-articles



LOS ANGELES CA January 15 2004--โ€" Smudge, the highly anticipated album by Los Angeles' Zallen, has been released.



Mike Jones is Zallen, whose talents run from singer/songwriter to musician, painter and visual artist. Smudge, his latest work, is a move back towards the pop-rock genre after six highly successful indie albums that ranged from psychedelic, mod and glam rock.



Tony Visconti, David Bowie's producer, sums it up best: "Zallen's music is awesome in scope, covers a lot of ground and different styles, with an emerging style of his own and has obviously paid much attention to the guitar heroes of our time as well as the best songwriters"



Zallen's talents extend far beyond guitar and songwriting. Smudge was completely conceived, written, played, produced and engineered by Zallen at Casa De Reseda Studios in Los Angeles. His music career began with success straight out of the box at the tender age of fifteen with his band Eulogy co-founded with acclaimed guitarist Rusty Anderson (Paul McCartney, Perry Farrell, Sinead O'Connor), moving on to form Zicko Glick, an early incarnation of the top-selling Berlin.



After an independent release with his band Bozart, he was courted by Prince's Paisley Park label.



Since then, his career has included top-rated Zallen solo albums Afactsafact, I Live In A Box, Mook, Spintime, Top 10 and Spacetoy, plus major film and television work.



Smudge is available at e-retail stores including BarnesandNoble.com, CD Now, Amazon.com, Borders Books and Music.com, as well as directly through Zallen's website www.zallenmusic.com.

Music Review of The Red Album by Weezer

Author: Darren Tan

Source: articlesbase.com



"Weezer" are a four-piece American indie/alternative rock band from Los Angeles, California and they were formed way back in 1992. As to date, Weezer comprise Rivers Cuomo (Vocals and Guitar), Patrick Wilson (Drums and Vocals), Brian Bell (Guitar and Vocals) and Scott Shriner (Bass and Vocals). Weezer (The Red Album) has a crunchy opening with "Troublemaker". The opening guitar strumming sounds like "The Good Life" from Pinkerton. Rivers just sings in a fast pace to catch up with the guitar and drum beat. While singing the verse, the bass will come in at certain beats and produces sounds as if the thunder is going to strike. It’s very catchy how Rivers’ vocals and the guitar work together. When it gets to the chorus, Weezer will just go, "I’m a troublemaker, never been a faker, doing things my own way, and never giving up, i’m a troublemaker, not a doubletaker, i don’t have the patience to keep it on the up…" It has this vibe that makes you want to sing along. Simple but amazing opener, just sets the right mood on! "The Greatest Man That Ever Lived (Variations on a Shaker Hymn)" is a track that has a variety of musical composition. Suddenly it’s this, and suddenly it’s that. It’s like listening to a few tracks which have been re-composed and re-produced to a single track. It has the Weezer rapping, singing, choiring and yelling at different parts of the song. Although with the varieties going on, The Greatest Man That Ever Lived (Variations on a Shaker Hymn) just sounds good. It’s a wild yet smooth ride throughout a track that’s over 5 minutes long. Weezer are really beyond where they normally are. "Pork And Beans" opens with really cute and catchy guitar hook. I just like the squeaky sound that sounds like a pig’s squeak during the verses. It works very well with the guitar as well. The second verse contain a piece of lyrics that caught my eyes, "Everyone likes to dance to a happy song, with a catchy chorus and beat so they can sing along, Timbaland knows the way to reach the top of the charts, maybe if i work with him i can perfect the art…" The chorus on Pork And Beans is totally different from the verse. It has Rivers singing on a heavier tone and the music just explodes and gets louder. And brings the normal and old Weezer back. To me, Weezer always sound good no matter how new and old they are. Weezer has it slow and soft with "Heart Songs". Once Rivers breaks the silence and enters the verse. The whole song just comes together. As he sings the verse he mentioned a number of popular artists whom he grew up listening to that have influenced his musical style. Before the bridge comes, Weezer are so soft, so smooth and so friendly to our ear. The music and everything else just floats on like clouds. When the bridge comes, they just take on a stronger tone and violin can be heard playing as well, lifting Heart Songs onto a powerful finish. Otherwise, it’s all smooth and "These are the songs… They never feel wrong, and when I wake for goodness sake… These are the songs I keep singing…" Lovely and lovely! "Everybody Get Dangerous" is a really dangerous track! With the guitar work that is going at the same speed with Rivers’ vocal. It’s very catchy to just listen to the vocals. The chorus just gets better with "Everybody get dangerous… (Boo yah)" It’d drag you to sing along with Weezer. In the background of the verses, you can listen to the sounds created by samplers and synthesizers. It features the fast guitar riffs that if you listen on earphones, the sound would keep circling from left to right. Cool effect! The last 30 seconds which features some yelling and drums are all that needed to end this energy-pumped track. "Dreamin’" features vocals from Brian. Dreamin’ is a simple rock track that will bring you back to the old successful days of Weezer when they just got started into making and playing music. The guitar and bass sound somewhat lazy just as Rivers breaks into the verse. When the bridge comes, Weezer just shift into a lower gear and have it slow. Brian can be heard here where he would sing after Rivers on every phrase. The ending guitar plays in a slower version of the guitar that we have heard in the beginning. Just right before the end, Weezer surprise us with a short break, "I don’t want to get, with your program… Take back the love…" The good old days. In "Thought I Knew", Brian takes the vocals. At the beginning, the synthesizers can be heard clearly before the guitar just strums the way in so tastefully. The guitar also has a pop-like element in it. As Brian sings, the guitar just know how to add the extra effect to Brian’s singing, especially the part "Thought I knew, but I didn’t have, a clue…" Great piece here. Throughout Though I Knew, the music itself was great, with the help of synthesizers and the great playing of guitars, even listening to the music is good enough to get you tapping you feet. I’m impressed here by Weezer. "Cold Dark World" has a dark element to it. And this time, it’s Scott to take the stage. Just as the title suggests, it’s really a cold dark world when you listen to this track. From the lyrics, this song would make you think it’s a happy track. "Angel girl in a cold dark world, i’m gonna be your man, angel girl in a cold dark world, i’ll make you understand…" But after listening to the music, you would think twice. The last 23 seconds where Scott can be heard yelling, we can hear that his voice shares subtle similarities with Rivers. Could be a good thing for Weezer though. On "Automatic", it’s Patrick’s turn to take the vocals. With the piano in the beginning, Patrick sounds really soft and lay it low in the verse. When it comes to the chorus, Patrick just belt it out like a rock and roll star, "Hey! It’s automatic when you know it… Hey! It’s automatic when you feel it…" During the bridge, a short guitar solo can be heard and as it draws closer to the end, Patrick just howls as the piano and synthesizer play in the background. Great fading by Weezer. "The Angel And The One" is a slow ballad and Rivers is back on the vocals. It starts off slow and gradually picks up the note while the tempo remains the same. It reaches a point where Rivers really raises his singing tone, "I’ll take you there my friend, i’m reaching out my hand, so take it… We are the angels and we are the ones that are praying… Peace, shalom…" The word "Shalom" means peace in English and it’s a Hebrew word. While the rest of Weezer is singing, "Peace…" Rivers just howls until the song fades. In the remaining 1:30 minutes, the synthesizers and guitar can be heard playing as to complement how the song is going to end. The Angel And The One is like a hike toward a mountain top and upon reaching the top, one just takes a good rest and falls asleep. Great ending by Weezer! Cheers! Darren Tan Indiesurf.com

Darren Tan is a huge avid fan of indie music, indie bands and indie artists. Since he was 17 years old, he started to fall in love with the indie music scene. It was a total turning point in his life for him as he no longer look at the indie music industry the same since.

With Indiesurf.com he wants to share his thoughts, comments, reviews and opinions on the latest (and past/old) indie music, indie bands and indie artists with the world and you. You are also invited to share your views as well, so he'll see you at Indiesurf.com.

What Louis Lamp did this summer...

Author: Anonymous

Source: free-articles



July 19, 2004 -- I am alive on a way to interface noncombatant radio with US Army Family Readiness Groups (FRGs) for the accessible broadcasting of assurance messages. Indie Radio Live (www.indieradiolive.com), and Frank Cotolo of EvO:R (www.evor.com) accept volunteered air time for this purpose. You accept my thanks.



Paradice.net now has a new look, and added functionality, if at a acting cede of content. I've gone to using Postnuke to administer agreeable of the site, for easier navigation. Also included is a chic links database, which you are acceptable to abide your website links. The links will be up already I accept them.



I am in the action of authoritative T-shirts, with "Paradice.net" (or my trademark) on the front, and the full-size artwork that the awning to "An Open Mind" was acquired from on the back. The t-shirts are white, with mostly atramentous designs. I am hereby aperture up the preorder stage, and the amount is $10 ea, behindhand of admeasurement (S, M, L, XL, XXL), however, if not abundant shirts of your admeasurement are ordered, I will forward you a alleviation cost (TBD) forth with your shirt in XL. I apprehend that the shirts will be accessible for addition about August 10th. Please accomplish transaction for pre-orders via PayPal to louis.walter.lamp@us.army.mil.



This is the additional weekend that Jimmy Dee Caterine and I accept been alive calm musically. I am currently blockage in Sierra Vista, AZ, and we will be jamming until mid August. If we accomplishment any tunes, you can blow mostly assured that it will be on my next album.



I will be syndicating account and notices on www.Paradice.net for the afterward websites/groups, in the somewhat abreast approaching (as time makes itself accessible to configure this):

-Elite Veterans of Rock (EvO:R) (www.evor.com)

-Indie Radio Live (IRL) (www.indieradiolive.com)

-Caterine-Music (www.caterine-music.com)

-Music Industry Account Network (MI2N) (www.mi2n.com)

-Music Dish Network (www.musicdish.com)



On 23 August, from 10-12 EST, I will be authoritative an actualization on Indie Radio Live and allure anybody to appear accompany me in either the IRL chatroom, or the Paradice.net chatroom (I'll be in both).



Last but not least, if you're in the Atlanta breadth during Labor Day Weekend, you may be able to clue me down at Dragon Con. I'll be there, gaming and cutting my t-shirt.



Have a abundant evening, and bethink folks;

What happens, happens.

Is It Time for a Band Manager?

Author: Maureen Herman

Source: articlecity.com



Great Managers & How to Find Them

A rock headliner-turned-artist manager shares her insights into the business side of music.

By Maureen Herman

August 9, 2006

In 1991 I was living in a drafty warehouse on Chicago's South Side, practicing with my band in the basement and playing local clubs -- until I got a call that would change my life.

An old friend phoned with news that the bassist had quit the band and asked if I'd like to join. That band, Babes in Toyland, had just signed to Reprise and was about to record their major label debut. I joined. In two weeks I was on tour, with a recording session scheduled immediately after we got off the road.

In true punk rock fashion, we split all of the work. But things soon became hectic, and it became an overwhelming responsibility to keep on top of our business -- touring, recording, upgrading equipment, something about ASCAP, and needing someone to tell us that A&R didn't stand for Artists & Restaurants. We wanted an ally, someone like us who understood what we were doing, who knew the business and could help us protect our interests and image.

It was time to get a manager.

In all my previous bands, I'd never thought of having a manager or even known what music business people really did. Entrenched in the DIY ethic of Chicago's indie scene, when I pictured a manager, I saw a cheap suit, a cigar, and a snake holding someone else's money.

Fast-forward a few years, and today I'm a music business executive. I dress pretty cheaply sometimes, and I do smoke cigarettes -- but I know now that most managers out there are not thief-like Svengalis. By and large they're hard-working people from all walks of life, with a passion for music and a respect for artists. How do you find one of these managers -- someone who has the drive, if not the experience, to nurture your career?

Glad you asked.

Where do I find a manager and what does it look like?

'Be clear early on about where you could use some help. Look at the people around you -- can any of them offer you that help?'

Calling up a big coastal management firm is not the best first step in finding representation -- especially if you're a "baby band" (which is an unappealing term used by the industry to describe a band that's just starting out or shopping for a deal). The best thing to do is look at the people closest to the band -- people who appreciate what you're doing and can offer constructive support. It may be the friend who's always helping you put up flyers and load out equipment at the end of the night. Or maybe it's the woman who books the club you call home and awards you the primo slots. Those situations can grow naturally and successfully into management/client relationships. Witness Maggie McPherson, formerly booking agent for the Uptown Bar in Minneapolis, now manager of then-local bar band and current Columbia artists the Jayhawks.

Many managers, like me, become involved with no intention of full-time management. Instead, they see a talent, become passionate about its potential, and feel they can contribute something to that artist's drive for success. Steve Hutton of Upper Cut Management was a friend of Kid Rock's back in Detroit and, until recently, his manager. "There was a local band that I really liked," Hutton recalls. "I started working with them. I used that as an excuse to network and teach myself the business."

Like Hutton, Janet Billig at Immortal Entertainment has an eye for indie talent and has learned about how to develop it on the job. One of her first clients in the early '90s was Courtney Love and her band Hole; she now works with Lisa Loeb, Cibo Matto, and Guided by Voices, and partners in a film production company with Love. "At different stages of an artist's career, you need a manager to do different things," Billig says. "Sometimes newer artists think, 'I need someone to help me design flyers.' Well, some managers might be really good for making flyers, but that may not be the best use of their time or abilities. Think of how they can facilitate your goals instead of thinking of them as your personal assistant."

In other words, be clear early on about where you could use some help. Look at the people around you -- can any of them offer you that help? What could you give them in return?

'A manager needs to love and appreciate the music of an artist, but they also need to be able to tell them the truth.' -- Danny Goldberg

Is experience necessary in a good manager?

Let's say you're thinking about asking someone who has a track record with other artists to manage you. The fact that this person has been in the music business gives you grounds for doing some research. Danny Goldberg, currently Chairman & CEO of Artemis Records, founded Gold Mountain Management and counted Nirvana, the Beastie Boys, Bonnie Raitt, and Rickie Lee Jones among his clients. "If someone's dishonest with other people," he warns, "they're going to be that way with you. Bands should also avoid managers who are intimidated by them. A manager needs to love and appreciate the music of an artist and like them, but they also need to be able to tell them the truth, which sometimes includes bad news or advice they don't want to hear."

Sometimes these qualities can compensate for a lack of experience. "Depending on how far along the artist is in their development, the manager should have some skills and expertise in the business," Goldberg continues. "If they don't have direct expertise, they should have a temperament that makes them open-minded and able to learn."

Steve Hutton agrees. "People should not look down on managers who haven't had success yet. Everyone has to start somewhere, and frankly, a lot of times a new manager may be better than an experienced one, because you're probably going to be their only act and their most important work. The experienced manager has other acts and more things on their plate."

Beyond honesty and respect for the artist, what qualities are important for the novice -- and veteran -- manager? "Patience and perseverance are the two most essential qualities," says Hutton. "You cannot be tenacious enough. At the same time, you have to be diplomatic, creative, and intelligent."

That's just the beginning, according to Boche Billions, a.k.a. David Viecelli, of Billions Corporation in Chicago, a booking & management firm whose roster includes Nick Cave & the Bad Seeds, Southern Culture on the Skids, Wire, Calexico, and the now disbanded Jesus Lizard. "Besides the obvious things, it is about finding someone who understands who the band is, what they want to get out of being a band, and what the realistic expectations for that band are in the marketplace."


'Good managers are worth a great deal to an artist. And bad managers are worth zero." -- Danny Goldberg

What exactly do managers do?

"A lot of work goes into the public hearing the music," states Danny Goldberg. "It's time-sensitive, and it requires finesse and intelligence to avoid disasters. Whether it's something going wrong in a club, the relationship with the media, the record company, the attorney, or the booking agents, I don't know if artists are always aware of how much work it is. It's the kind of profession where anything good that happens is credited to the artist and anything that goes wrong is the fault of the manager.

"It's hard sometimes to measure a manager's real contribution, impact, and value in a tangible way," Goldberg admits. "Therefore, you're hoping that there's an intuitive grasp of it. There's no chance for an It's a Wonderful Life run-through of what your career would be like without the manager. That's the most frustrating thing for both parties. The artist always wonders, 'Am I getting my money's worth?' The manager wonders, 'Do they appreciate what I'm doing or not?' I believe good managers are worth a great deal to an artist. And bad managers are worth zero. So the profession is extremely valuable -- when done correctly."

Good managers are networkers; they understand that the business is all about relationships. Though it may be your song in the movie, the path it followed to get there may be this convoluted: Your manager is backstage at the Foo Fighters show, which he got into because he used to book bands at the club part-time. He runs into his ex-girlfriend's brother, who works for a film company. They talk about a film that's under production there, and it turns out they're looking for a song with a train theme for the soundtrack. The manager remembers that your band has a train song on their demo. Phone numbers are exchanged.

The point, of course, is that it's not always easy to trace or gauge the manager's positive effect. As Billig points out, "There are little accomplishments that seem insignificant to the artist or outside world but are gigantic for the artist's career. It's hard for anyone, even an artist, to see that opportunity the manager gained for him or her."

"I think there's a quote from Andy Gould [manager of Rob Zombie and Monster Magnet] that says, 'A manager's job is to be the thing that gets between the bullet and the artist's foot,'" laughs Hutton. "I think that's true, combined with contributing to the artistic process. That doesn't necessarily mean creating the music, but representing the music in the proper spirit and in a creative way."

Managers essentially work for free until they can create financial opportunity and exposure.

"You want me to pay you what?!"

Commission: Anywhere from 5% to 20%, with the norm being 15%.

This is how the manager is able to afford to work for you and still pay the phone bill and eat out once in a while. In the early days, it can be tough: The client doesn't have income, which is why he or she wants a manager. The manager essentially works for free until he or she can create financial opportunity and exposure.

At this stage, it's important for all parties to be realistic. In the beginning of his career, manager Chris Moon [Josh Rouse] still worked a second job -- and for as long as it took, so did his client. "I've talked to several people who made big money on big deals," he says. "They still have to work on the side because of the initial investment of getting to that point. Unless the artist gets a signing bonus you can commission, all the money from a record deal goes toward making a record. You can only commission what is actually income, not expenses. That's why it's good to get a publishing deal and get some money up front for you and your client. Either way, you have to have someone administer your publishing or you're never going to take all your money in -- that's a given. So you either sell your publishing or you hold onto it and get an administration deal. In the leverage for that money, you give up ownership for 'x' amount of years."

How many years? "That depends," Moon says. "Do you want to wait to earn the money, or do you want somebody to pay up front? Other than that, income comes only from merchandise and live performance -- and that's where your management efforts should be focused after the deals are done."

As Billions points out, "For every one of those deals, there's 30 other tasks that have absolutely no income related directly to them. For me, the reward is in the relationship itself. Of course there's satisfaction in having something become a success from a fiscal standpoint, but there's a lot of little victories, and lots of little to medium frustrations. You miss out on the fun of managing if you don't see the process as worth it."

Sometimes artists forget how they got to be successful. To them, their first manager transforms into something like an old guitar they want to trade for a shiny new red one. In both sides of this scenario, the artist has forgotten how their old association helped them get to where they are, and that history -- especially the trust and communication built into a manager/client relationship -- is priceless.

This is not to say that you should never change management or fire your manager. If you feel your needs are not being met, or that your interests or money are no longer protected, or if you plain don't like each other anymore, you should part ways. But associating humble beginnings with the "small time" can put you in the hands of someone who wasn't there when you were broke, unknown, and losing faith. Even if things are on the upswing with your next manager, the minute things look shaky, you could find yourself deserted by someone whose allegiance to you began after all the toughest work was done.

'I don't have a problem picking up an artist with no deal; I have a problem picking up an artist without experience.' -- Janet Billig

How do I get a manager interested in me?

If you have no record deal or solid interest (a negligible term in the flaky netherworld of A&R), and depending on how far you are in your career, you may not be able to attract a higher-level manager unless you really blow him or her away. Even so, there's a lot you can -- and should -- do to make your band appealing to a good manager, regardless of your label status.

"I tend to not pick up really small artists that haven't accomplished a certain number of goals by themselves," says Janet Billig. "It's really important that an artist go through the process of recording an album, generating press, building a buzz, and booking and promoting shows. I don't have a problem picking up an artist with no deal; I have a problem picking up and working with an artist without experience."

Steve Hutton's approach adds some gut instinct to the mix. "I get in trouble and have problems if I have to convince myself to manage a band and don't feel it immediately. I look for a good rock band with great songs, with relatively attractive people who are of a certain age, have a similar vibe, and look like a part of the same team. You don't want a bass player that looks like he's in Korn and a guitar player that looks like he's in Backstreet Boys -- that won't work. And this clich้ will always be true -- it's all about the songs."

'If you can't get your brother-in-law's indie label to get back to you about the three demos CDs you sent them, you just might need someone with contacts.' -- P. W. Long

Do I really need a manager?

My former management client P. W. Long came up with the following definitive checklist that you can use to answer this question for yourself.

Your band is finally getting some label interest. You're wondering if it's time to get help navigating those perilous waters. Most certainly, if you do end up on a major label you'll need someone to protect your integrity from the A&R person who wants your techno-metal-hop outfit to fill a support slot for Ani DiFranco's tour and a radio department clamoring for you to do a Hooter's grand opening. Maybe, on the other hand, you can't even get your brother-in-law's indie label to get back to you about the three demos CDs you sent them. If so, your career just might need a kick-start--someone with contacts.

You Need A Manager If …

1. You have a major label deal. If you somehow swung your record deal without a manager, the label will either recommend or demand that you get one -- now.

2. You have more success with indie-label releases, gig earnings, and merchandise proceeds than you can keep track of efficiently.

3. Your band's income and popularity are stagnating, and you need to get your music into the hands of people who can generate income for your band (record labels, music publishers, film music supervisors, etc.).

Manager Criteria

1. Make sure your manager will be readily accessible and have the necessary time to devote to your project. If your selection pool is limited to friends and acquaintances, realize that your friendship will likely become strained if not entirely jeopardized.

2. Find someone whose reputation and methods will not compromise your band's image. A good manager is aggressive and firm, but also careful not to embitter a lot of people.

3. Make sure he/she is an ardent fan of your music. Your manager's enthusiasm and confidence about your future should be infectious.

What to Know Going In

1. The band and manager should agree on what to expect from each other. Define "manager." Does it include booking gigs, mailing posters, sending press materials, etc.?

2. Sign an agreement that's fair to everyone. This should prevent misunderstandings when -- after a term of failed efforts -- the manager says, "You owe me $5,000.00." You say, "Not according to this contract we don't."

3. Pay the manager the agreed percentage for his or her efforts whenever you can. This keeps everyone interested in staying actively involved.

4. Demand performance from your management. At the same time you must show the same commitment you expect from them: Do what you say you're going to do.

In all cases, use common sense. Trust the instincts of the band-member with the best judgment of character. If you don't have a solid list of management candidates, ask friends in other successful bands for guidance. If those efforts turn up nothing, Pollstar's quarterly "Agencies" issue offers an exhaustive list of management and booking agencies. Good luck.

Deadline Extended For BPR Original Song Competition

Author: Anonymous

Source: free-articles



Los Angeles, CA February 2 2004-"Berkeley Park Records (BPR) is extending the deadline for submission of songs to their annual BPR Original Song Competition. Submissions must be post marked no later than midnight PST on May 1, 2004. Winners will be announced on June 15, 2004.Sponsored by Sonicbids (sonicbids.com) and Sam Ash, the BPR Original Song Competition focuses on launching careers by providing an opportunity for unsigned songwriters, original solo artists and indie bands to get their music heard by top music industry professionals. We are committed to finding the next hit song for a world of artists to record as well as those in the BPR family of artists, says BPR founder Dave Terry.In addition to cash and merchandise prizes, the top 10 winners will perform in the BPR Original Song Showcase in Los Angeles for an invited entertainment industry audience. The date of the showcase has been pushed to August 5, 2004. The top 10 songs will be included on a compilation CD produced on the BPR label. BPR is in negotiation with a major distributor for distribution of the CD.The panel of judges for the competition includes such distinguished artists as: the legendary H.B. Barnum, producer/arranger/conductor for Aretha Franklin, Mary J. Blige, Lou Rawls, The Supremes, The Jackson 5, Frank Sinatra, Elvis Presley and many others; Mel Carter, recording artist/vocalist extraordinaire with multiple hits including "Hold Me, Thrill Me, Kiss Me"; Roger Smith, recording artist/songwriter/producer and keyboard player for Tower of Power who has just finished producing albums for Tower of Power and the Average White Band; Larry Lynch, formerly the drummer and a vocalist with the Greg Kihn Band and has toured with the Rolling Stones, Peter Gabriel and Tom Petty and the Heartbreakers, among others; Nolan Shaheed, former music director for Marvin Gaye and Diana Ross and world class trumpet player; and Dave Terry, recording artist/songwriter/producer and founder of Berkeley Park Records.Please visit the BPR website at www.berkeleyparkrecords.com for the official rules and information on how to enter. Berkeley Park Records is an independent record label that produces, distributes and develops new and emerging artists primarily in the Rock, Pop, R&B and Urban genres. BPR maintains a catalog of music for licensing to motion pictures, television and other media.

British Rock? Bloc Party!

Author:

Source: articledashboard.com



Since their latest album, A Weekend In The City, was released in February, Essex indie-rock superstars, Bloc Party, have enjoyed a year of major highs. They have followed up their success with a wide-ranging tour, performing at high-profile gigs such as Live Aid, Glastonbury, Reading/Leeds, SXSW, and the Austin City Limits music festival.For a band that's only been together for five years and released just two full-length albums, Bloc Party have managed to create a significant amount of fuss in the music press. Leveraging all the distribution and marketing tools available, the band made up of Kele Okereke (vocals/guitar), Russell Lissack (guitar), Gordon Moakes (bass), and Matt Tong (drums), have managed to place their songs in prominent video games, commercials, re-mix discs, movie, and television soundtracks. This exposure and viral marketing tactics appears to have paid off.Silent Alarm, their 2005 debut CD, was met with considerable critical acclaim and was voted by NME as 2005's Album Of The Year. It went platinum in the UK, peaking at number 3 in the album charts. Bloc Party made inroads in the American market as well, with a 4-5 star rating in Rolling Stone Magazine and hitting a respectable (for a previously unknown indie rock outfit) number 114 on the Billboard album charts, ultimately pushing worldwide sales for Silent Alarm past the one million mark.Music journalists initially tended to lump Bloc Party in with other British new-wave inspired dance rock outfits like Franz Ferdinand, but soon agrees there was something more to them. Spin magazine had this to say about front man Okereke: "there's something so engaging about the urgent songwriting of Kele Okereke, the band's irrepressible front man that hints at longevity beyond this particular British invasion. With his piercing emotional explorations and edgy political banter, Okereke possesses more charisma in one of his floppy dreadlocks than any number of feuding indie-rock singers put together."There was a remix of Silent Alarm in 2005, as well as several EPs exclusive to Japan, but in February 2007 Bloc Party was back with a sophomore release that proved they weren't going to go down as one-hit wonders.A Weekend In The City made it to number 2 in the UK album charts and in the first week of sales, 48,000 disc sales notched them the number 12 spot on the American Billboard album charts - a significant improvement from the peak of 114 on their first outing!Taking the band in a new direction, the new CD makes it more difficult to draw direct comparisons to previous bands (Gang of Four, The Cure and Blur were frequently brought up after the release of their first album), and shows a band more comfortable with itself, growing into its potential.There were concerns that early leaks of the new album might impact sales - a copy made its way onto file-sharing networks three months before its official release - and the band took the unusual step of posting samples of the entire album on their MySpace site.Expect to hear more from Bloc Party, and if you get the opportunity to catch them in concert during this tour, don't miss it.Discography (Original Releases Only)2004: Bloc Party (EP)2005: Silent Alarm (#3 UK)2007: A Weekend In The City (#2 UK)Forthcoming UK Dates27/10 London Roundhouse03/11 Dublin Big Top @ Phoenix Park12/12 Glasgow SECC13/12 Manchester G-MEX14/12 London Alexandra Palace15/12 London Alexandra Palace

Berkeley Park Records Announces the Winners of the 2003-4 BPR Original Song Competition

Author: Anonymous

Source: free-articles



Los Angeles, CA June 23, 2004 -- Berkeley Park Records (BPR) is excited to announce the winners of the 2003-4 BPR Original Song Competition and would like to congratulate the following songwriters for writing, producing and submitting these great songs:Grand Prize Winner: EVERYDAY by Warren Williams of Baltimore, Maryland (R&B)2nd Place: DON'T BE YOU by RPM/Frank Gryner of Hollywood, California (Rock)3rd Place: DO ME RIGHT by Nina Martinez of Bridgeport, Connecticut (R&B)4th Place: NEVER ENOUGH by Arthur Jones of Beverly, Massachusetts (R&B)5th Place: TALK YOU DOWN by RPM/Frank Gryner of Hollywood, California (Rock)6th Place: HEAVEN by Scott DeCarlo of East Rutherford, New Jersey (Pop)7th Place: LONDON by Leah Morgan of McLean, Virginia (Adult Contemporary)8th Place: KARAOKE COWBOY by Don Dickey and Jeff Price of Martindale, Texas (Country)9th Place: THINK IT OVER by Saschka Wittau, Charles Walker and Butch Kellem of Frauenfeld Thurgau, Switzerland (R&B)10th Place: REST by Don Miggs of Walnut Creek, California (Pop)The winner of the lyrics contest is: PUBLIC PLACES by Sonya Lake of Baltimore, Maryland.In addition to cash and merchandise prizes, the top 10 winners will have the opportunity to perform in the BPR Original Song Showcase in Los Angeles for an invited entertainment industry audience. The showcase and awards ceremony will be held on September 22, 2004 and details will be announced this summer. The top 10 songs will be included on a compilation CD produced on the BPR label.BPR would like to express its deepest gratitude to the panel of judges for taking such a positive interest in the competition, taking time out of their busy schedules and really putting their hearts into choosing the winners. The panel of judges for the competition includes such distinguished artists as: the legendary H.B. Barnum, producer/arranger/conductor for Aretha Franklin, Mary J. Blige, Lou Rawls, The Supremes, The Jackson 5, Frank Sinatra, Elvis Presley and many others; Mel Carter, recording artist/vocalist extraordinaire with multiple hits including "Hold Me, Thrill Me, Kiss Me"; Roger Smith, recording artist/songwriter/producer and keyboard player for Tower of Power who has produced albums for Tower of Power and the Average White Band; Larry Lynch, formerly the drummer and a vocalist with the Greg Kihn Band and has toured with the Rolling Stones, Peter Gabriel and Tom Petty and the Heartbreakers, among others; Nolan Shaheed, former music director for Marvin Gaye and Diana Ross and world class trumpet player; Diana Osberg, film producer and partner at Berkeley Park Music and Entertainment; and Dave Terry, recording artist/songwriter/producer and founder of Berkeley Park Records.Sponsored by Sonicbids (sonicbids.com) and Sam Ash Music (samashmusic.com), the BPR Original Song Competition focuses on launching careers by providing an opportunity for unsigned songwriters, original solo artists and indie bands to get their music heard by top music industry professionals. The 2004-5 BPR Original Song Competition will start October 15, 2004. Details will be posted this summer on the Berkeley Park Records website at http://www.berkeleyparkrecords.com.Berkeley Park Records is an independent record label that produces, distributes and develops new and emerging artists primarily in the Rock, Pop, R&B and Urban genres. BPR maintains a catalog of music for licensing to motion pictures, television and other media.