Music Shows

Live music is sometimes called the food of the soul. There’s little more persuasive and pleasing than good music. Soothing music heals the mind. No entertainment is complete in the absence of music. Playing of your favorite music and songs instantly varys your  filled mind to a more relaxed and serene state of mind.
Though individuals may listen to songs and music on stereo systems and walkmans, however, they do not think twice before lining up for Live Music Gigss the reason passion. It’s the power of passion that attracts them to see the stars perform in person and live. little beats it.
Live music is also a favorite  at get togethers. Live music entertainment consists of classical music, Jazz, Swing, World music, period music of 50’s, 60’s, 70’s, 80’s and the 90’s and performed by artists who haven’t made it big. Classical music consists of quintet, quartet, trio, duo and solo. performances of live music may be given on any instrument as a piano, guitar, keyboard, harpoon, flute, trumpet, saxophone and the jazz session.
Whether it is a birthday party, wedding reception, a private party or a corporate party, live music is a must if you are not hiring a disc jockey to mix songs for you. Even If the re is a disc jockey, live music isn’t a bad idea. Virtually every city and town in the America has performers that perform live music. The option of songs and music may be limited with a Live Music Gigs, but it is the limited selected songs and music, which makes the band endearing to individuals. disc jockeys would charge 25  percent? 50  percent of what a live music playing band charges.
Nonetheless, the allure of live music is something that’s compelling if one may give it. Some live music performing performers gain and reproduce the tone of music that were not recorded properly by the unsophisticated recording machines of the 50?s and the 60?s.
A disc jockey may mix songs to offer you the ultimate music entertainment. What needs to be done though is that you should give the disc jockey a list of your like red song long before the event. That gives the disc jockey time to arrange the CDs for you. The variety of music becomes enhanced when a disc jockey plays CD s. A sudden request from the guest also may be honored by the disc jockey and the song may be played. Most disc jockeys come prepared with a number of CDs to meet immediate requests.
The success of any party depends on the music entertainment. If the attendees hear the music they relish your party will be a success.

If you are a meaningful hip hop music fan and need to find a place where you may catch up on all the latest hip hop action, then you want to check World Star Hip Hop. This website is designed with hip hop listeners in mind and offers them music videos and entertainment that’s geared toward the ‘urban community’. With news, videos, music and more, this is all-inclusive website for all of your hip hop needs.
Videos seem to be a large attraction for individuals and World Star Hip Hop has plenty of them. They have a searchable database collection that you connect to when you join the website and as a member you’ll be able to learn about the videos and watch related video content as well. Just imagine how good it would be to watch all of Jay-Z’s videos in one place in the absence of having to troll the Internet. You may search the database by video or artist and then watch the result. You may also chat with other users in the attached chat box and make new friends while you find pleasure in the latest in hip hop.
Currently World Star Hip Hop has over 508,000 listeners with 78  percent of them being in the America. It’s thought to be a top 5,000 websites and while it is geared towards the urban community as a whole, its main demographic base is African American teen and young adult oriented, leaning slightly towards the ladies. individuals who find pleasure in Black Entertainment television (BET) and shop at stores like Finish Line are most like ly to be found frequenting a website such as this, based on the market research done prior to launching the website to the world.
Music videos aren’t the only thing showing up on World Star Hip Hop. All types of special interest videos are being mixed into the websites database. There are videos surrounding the current Presidential campaign – not surp growing since Democratic candidate Barack Obama is African American – as well as entertainment and general interest videos. The database currently has over 40 pages of videos to look through, and that’s before you even join the website to investigate the rest of the content available to members.
The website should definitely not be viewed by children under the age of 18 as there is some exceedingly adult content available on it just in the public areas. For instance, if you click on the ‘WSHH Honey’s’ link at the top of the home page, you are taken to a Internet page that displays ladies in all states of undress including their videos showing why they should be considered a ‘WSHH Honey’. There are even instructions on the World Star Hip Hop website on how to submit your own video.
What’s exciting to note is that while World Star Hip Hop is a membership website, it does not seem to be any links on how to join. When you run your mouse over the website and text that talks about membership, it does not give you an option to click and join.

Setting time boundaries is an important tool for an artist to learn to use.
Paula Eder of ” Locating Time Tips and E-zine” states, “If you can’t say no, may be you don’t know where your boundaries are”.
Community service and donations are frequently requested from artists. Paula suggest in her action step to “List each area you say “yes” to where you wish you’d said “no”. These are your 1st boundaries”. Boundary artists have learned to stop saying “yes” and wishing they had said “no”. Creating more respect for their artist time. Careful planning…saying “yes” to things  all of us  really want to do, frees time for activities  all of us  really want to participate in.
When your day in the studio is finished, take time to prepare a priority list for the next day. session ting boundaries with your list gets chores out of the way fast. Leaving time for work in the studio or community service. Most of all it leaves time for enjoying being an artist.
Being involved with family members frequently consumes much of an  performer’s  time. Communication in this area is exceedingly important. You know your family members is rushed, frazzled and work hard to make a living and, you want to help. But, your artist time needs consideration also. Discuss these needs, come to an agreement that leaves each person with time to help each other. The boundary artist is able to return to the studio feeling good about time spent with family members and time to create.
Prepare a sign that’s posted at the entrance of your work space that undeniable ly indicates you are working. When the sign is removed it signals that you are free to talk and interact with others.
How do you session boundaries? Do family members and companies need to learn your artist boundaries? Talk to me about the way you handle these situations and still make time to create your art.

To most artists, the enduring image of an artist manager is a caricature of a heavy-set, unkempt slob of a man, stuffed into a 2-sizes-too-small, off-the-rack department seller suit, chomping on a cheap smelly cigar while sliding a gr easy hand unceremoniously into the back pocket of a starving artist. Doubtlessly, somewhere in the vast landscape of the music universe, such malice exists. The vast majority of artist managers, however, are a motley collection of well-meaning, hardworking, selfless individuals struggling to make the dreams of an individual they believe in come true.
For the legion of dedicated unbelievers out there, this is an article that attempts to shed light on the true worth of an artist manager. Following are 8 reasons why a band or artist needs a good manager:
1. Career Guidance – It’s frequently extremely difficult for artists to step back from the day-to-day activities and see the large picture (you know – the old ‘forest-for-the-trees’ thing). A knowledgeable manager may see how everything in the large picture fits together, and may help the artist navigate through the frequently -confusing maze of activities that seem unrelated yet are all part of a massive jigsaw puzzle. The manager offers career guidance and helps to session the overall game plan for the artist and the artist s’ team to follow.
2. Cheerleading – Even though listeners are the main cheerleaders for an artist, an individual has to communicate the same enthusiasm to the music business community. An artist manager will trumpet the artist’s message to record labels, booking agents,  promoters, media person nel, venue bookers, independent retail accounts, etc., in order to keep them all engaged and enthusiastic.
3. Prestige – According to most record industry professionals, there is something to be said about an artist that has a manager. The logic is that if an artist is good enough to attract management, there must be something of worth present. In fact, most major labels refuse to sign an artist unless they have solid team (manager, attorney and publicist) in place. An artist in the absence of management is just too much drama! Labels would rather deal with an individual who knows how the music business works and may make decisions on a non-emotional basis.
4. Buffer – A manager may act as an effective screening buffer amidst the artist and individuals that want to do business with the artist. This buffer tends to attract legitimate industry players while at the same time scaring away scam artist s. There are no scarier words to a scam artist than “please talk to my manager”.
5. Time management – There simply isn’t enough time in the day to do everything that needs to be done in order to further the career of an artist. In amidst writing songs, conducting interviews, designing artwork for CD ’s and merchandise, managing a mailing list, filling out copyright paperwork, rehearsing with the band, hiring and firing artist s, updating band websites and MySpace.com profiles, getting pictures taken, shooting and editing DVD’s and YouTube videos, sending out packages and/or updating EPK’s, researching, repairing and buying equipment, etc., there isn’t time to also craft a master game plan, solicit potential sponsorship partners, handle licensing requests, reach out to industry gatekeepers, attend industry networking get togethers, harass labels for tour support, and so on. Some tasks may be delegated to the band while others may be handled by the manager.
6. Accountability – Part of a manager’s job is to hold individuals accountable. What happens when the financial tour support that has been promised by the label fails to materialize? Or the check from the booking agent bounces? Or the FOH engineer at the show is MIA? Or the licensee fails to sign and return the contract but is using the artist’s songs anyway? Or the beer in the tour van vanishes? Somebody has to keep individuals honest, and that’s most appropriately the manager’s job.
7. Good Cop / Bad Cop – Need to fire the bass player but don’t want to create an enemy? Let the manager performance bad cop and do the firing. Need to re-negotiate your contract and request more of a promotion budget? Let the manager performance good cop and keep a positive spin on the proceedings. There are plenty of opening s when the artist and manager may trade off playing good cop / bad cop.
8. Sounding board – A manager, even though basic ally an “honorary member of the band”, is frequently on the outside looking in. Managers frequently see things diverse ly than the artist, and may frequently offer diverse perspectives, insights and determinations to problems the artist is encountering. Running ideas by a knowledgeable manager prior to making decisions frequently allows for good ideas to become better and bad ideas to be removed altogether from the to-do list.
So, there you’ve it! 8 good reasons why an artist needs a manager. Having said all this, however, it is important to note that having a bad manager is worse than having no manager at all. a lot of wannabe managers think they may just “wing-it” with an artist, and continue to operate with the “lets-record-a-3-song-demo-and-shop-it-for-a-record-deal” mentality, even though the music industry continues to undergo meaningful vary s. New business models are emerging, and only those managers that stay at the leading edge of the learning curve will create successful strategies and offer meaningful counsel to their clients.

(For the purpose of this article I am going to make a couple of assumptions before I go any further. They are that you’ve a little bit of vocal or musical instrument knowledge and that you also have a fledgling network of friends and contacts)
Starting up a band is a exceedingly exciting time in a artists life. There’s a fine balance of nervous anticipation and the fear of the unknown that follows the whole process.
A band has a diverse dynamic than working as a solo artist. There are other individuals involved, other individual ities, other strengths and weaknesses in character and abilities and because of this it is really important that you’ve a few things worked out before you start looking for band members.
1. Have a good idea of your own strengths and weaknesses
The band members that you want to get will need to be around the same level of competence as you are. The main reason for this is that you may all grow together rather than have one or two artists carrying everyone else. This type of player imbalance causes doubt in the group and doubt is one of the major killers of bands.
2. Know beforehand how the band is going to be run
Is the band going to be run by you or the whole group? The individual ity types of the artists that you select will need to be agreeable to the way the band is going to be run.
3. What instrumentation is the band having in its lineup?
This is mainly determined by the type(s) of music that you want to performance but having an idea of what artists you are looking for will be of wonderful help.
It’s now time to hunt down some band members
4. Ask your network of friends and/or contacts
This is always a good place to start. Ask everyone that you know or come into contact with. If you don’t have much of a circle of friends and/or contacts this will be a wonderful opening  to expansive n it. This is one of the reasons why networking in the industry is so important, for opening s such as this.
Having a artist referred to you has a much better opening  of working than one that comes from an advertisement. This leads me onto my next point.
5. Post an advertisement
Having said that I have had made some wonderful contacts from artists enquiring from a ‘muso wanted’ ad. The key to effective ads is that they need to be concise, to the point, not too lengthy and put in places where artists are exceedingly like ly to see it and read it like in a music shop, a local/regional music magazine or a music classifieds website.
A sample ‘ artist wanted’ advertisement may read something like this:
BASS PLAYER WANTED
To join folk/rock band
Influences include
Ben Harper, Jack Johnson, Counting Crows
Some experience like red
Own gear and transport essential
Interested?? Give me a call
Corey – (put home and/or cell telephone  number here)
As you may see, the ad is undeniable in its intention.
It undeniable ly states the artist wanted, the type of music the band is playing, what the music may sound like and that the band has some experience behind it. Ensure you’ve a undeniable contact name and phone numbers (if you want to include an email address as well that’s cool).
Do not put in stuff like ‘work waiting’ or ‘no time has been ters please’. You may judge those sort of things yourself when an interested artist contacts you.
Once you’ve done that the waiting game begins.

Most individuals would say the 1st thing to do is to find a name for the band. Lets start from there s club we??
The auditions are over, you’ve found your bass player and you all seem to get along really well. The excitement is in the air and you’ve had your 1st band bonding celebration.
Now its time to start your musical journey together.
Personally, I think that locating a band name is THE hardest decision that the band will ever have to make and therefore one of the most important decisions as well.
A band name is a exceedingly important part of the performers identity. It’s the 1st point of contact a punter has with the band.
Does this conversation sound familiar to you?
Them: “Hey, I saw this cool band last night. You gotta check them out”
You: “Cool, what has been the name of the band?”
Them: “Ummmmmm……. I don’t know”.
Arrrrrgh!!!! I get that all the time.
I can’t recall how a lot of times individuals have raved about a band to me but can’t tell me the name when I ask them. Right there is the has been ted opening  for a band. It frustrates me no end.
This is a perfect example of how extremely important a band name is.
The band name is the 1st thing that a punter will recall. They will not address the band by the names of the individuals in it when they talk to their friends (unless they are individual friends of yours) they will address the band by its name.
The perfect way to find a band name is through sheer persistance. Locating a band name that’s agreeable by everyone isn’t an easy task.
Here are some band name party suggestions:
1. Get every member to write down their personal list of potential band names
This may be the 1st task that the band may do collectively. session a date for the 1st band meeting and amidst now and then do that task.
2. Make brainstorming band names the topic of your 1st ever band meeting
When everyone gets together put all of the lists out on the table and go through each one keeping to one side the names that ’strike a chord’ (sorry about the pun) with all of you and getting rid of the rest.
As a group try brainstorming some ideas. This is a wonderful way to start formulating what the band is all about, what its image is etc, etc.
3. Create a competition among all your friends /family/anyone else via email
This is a wonderful way to start compiling the beginnings of your performers email list. List all of your friends /family/anyone else that you want to include and their email addresses and compile them all into one mailing group. Send out an email outlining the competition and be ready for the ideas to come flooding in.
It’s important to have a cut off date for the competition (perhaps by your 1st band meeting) and to have a prize on offer. Of course the prize is totally up to you.
Ensure that when you do find a band name that you announce it through your email group. You’ve just started email promotion of your band.
Whatever you do have fun with the process and don’t let the quest to find a band name override the other things that you’ve to do such as writing songs and locating rehearsal space.
I guarantee that once you’ve agreed on a band name you’ll all collectively breathe a very large sigh of relief. The hardest part of the journey has been achieved.

To most artist s, the enduring image of an artist manager is a caricature of a heavy-set, unkempt slob of a man, stuffed into a 2-sizes-too-small, off-the-rack department seller suit, chomping on a cheap smelly cigar while sliding a gr easy hand unceremoniously into the back pocket of a starving artist. Doubtlessly, somewhere in the vast landscape of the music universe, such malice exists. The vast majority of artist managers, however, are a motley collection of well-meaning, hardworking, selfless individuals struggling to make the dreams of an individual they believe in come true.
For the legion of dedicated unbelievers out there, this is an article that attempts to shed light on the true worth of an artist manager. Following are 8 reasons why a band or artist needs a good manager:
1. Career Guidance – It’s frequently extremely difficult for artists to step back from the day-to-day activities and see the large picture (you know – the old ‘forest-for-the-trees’ thing). A knowledgeable manager may see how everything in the large picture fits together, and may help the artist navigate through the frequently -confusing maze of activities that seem unrelated yet are all part of a massive jigsaw puzzle. The manager offers career guidance and helps to session the overall game plan for the artist and the artist s’ team to follow.
2. Cheerleading – Even though listeners are the main cheerleaders for an artist, an individual has to communicate the same enthusiasm to the music business community. An artist manager will trumpet the artist’s message to record labels, booking agents,  promoters, media person nel, venue bookers, independent retail accounts, etc., in order to keep them all engaged and enthusiastic.
3. Prestige – According to most record industry professionals, there is something to be said about an artist that has a manager. The logic is that if an artist is good enough to attract management, there must be something of worth present. In fact, most major labels refuse to sign an artist unless they have solid team (manager, attorney and publicist) in place. An artist in the absence of management is just too much drama! Labels would rather deal with an individual who knows how the music business works and may make decisions on a non-emotional basis.
4. Buffer – A manager may act as an effective screening buffer amidst the artist and individuals that want to do business with the artist. This buffer tends to attract legitimate industry players while at the same time scaring away scam artist s. There are no scarier words to a scam artist than “please talk to my manager”.
5. Time management – There simply isn’t enough time in the day to do everything that needs to be done in order to further the career of an artist. In amidst writing songs, conducting interviews, designing artwork for CD ’s and merchandise, managing a mailing list, filling out copyright paperwork, rehearsing with the band, hiring and firing artist s, updating band websites and MySpace.com profiles, getting pictures taken, shooting and editing DVD’s and YouTube videos, sending out packages and/or updating EPK’s, researching, repairing and buying equipment, etc., there isn’t time to also craft a master game plan, solicit potential sponsorship partners, handle licensing requests, reach out to industry gatekeepers, attend industry networking get togethers, harass labels for tour support, and so on. Some tasks may be delegated to the band while others may be handled by the manager.
6. Accountability – Part of a manager’s job is to hold individuals accountable. What happens when the financial tour support that has been promised by the label fails to materialize? Or the check from the booking agent bounces? Or the FOH engineer at the show is MIA? Or the licensee fails to sign and return the contract but is using the artist’s songs anyway? Or the beer in the tour van vanishes? Somebody has to keep individuals honest, and that’s most appropriately the manager’s job.
7. Good Cop / Bad Cop – Need to fire the bass player but don’t want to create an enemy? Let the manager performance bad cop and do the firing. Need to re-negotiate your contract and request more of a promotion budget? Let the manager performance good cop and keep a positive spin on the proceedings. There are plenty of opening s when the artist and manager may trade off playing good cop / bad cop.
8. Sounding board – A manager, even though basic ally an “honorary member of the band”, is frequently on the outside looking in. Managers frequently see things diverse ly than the artist, and may frequently offer diverse perspectives, insights and determinations to problems the artist is encountering. Running ideas by a knowledgeable manager prior to making decisions frequently allows for good ideas to become better and bad ideas to be removed altogether from the to-do list.
So, there you’ve it! 8 good reasons why an artist needs a manager. Having said all this, however, it is important to note that having a bad manager is worse than having no manager at all. a lot of wannabe managers think they may just “wing-it” with an artist, and continue to operate with the “lets-record-a-3-song-demo-and-shop-it-for-a-record-deal” mentality, even though the music industry continues to undergo meaningful vary s. New business models are emerging, and only those managers that stay at the leading edge of the learning curve will create successful strategies and offer meaningful counsel to their clients.

Music publicity success comes down to knowing how to work with music editors in your desired newspaper or magazine. No matter how good your songs are, or how electric your live show is, you will not get publicity for your music unless you know how to give a music editor what he or she needs to  encourage  you properly.
After surveying a roundtable of music editors and other music publicity experts, I learned what separates the well-known performers from the obscure ones. Following are secret press ideas you may use to get better publicity for your music:
Plan Ahead. Give media outlets enough guide time to make room for your story. Newspapers and local/regional magazines need to have your press release and promo package at least three weeks before your gig. National print magazines need your info two to three months ahead.
Do Your Homework. If you are a pop artist, do not send your press kit to a country music editor. Regardless of how wonderful your songs are, you are has been ting her time and yours. If you want to send your press kit to a national or local/regional paper, find out beforehand If the y review unsigned and independent bands.
Be Patient. You may have to call more than twice before you are able to reach a music editor on the phone. Try calling diverse times of the day. Leaving a lot of phone messages should be avoided.
Keep a Contact Log. When you are approaching more than one media outlet for a music publicity campaign, it isn’t easy to keep your information straight by using memory alone (or scraps of paper). Keep a chart or database with editor names, dates contacted, and other info so you may keep track.
When They Answer. Before delivering your telephone pitch to a music editor, ask If the y are on a deadline. This shows that you are professional and respect their time. If the music editor demonstrates yes, ask for a better time to call. If you ignore their deadline schedule, the editor will not be able to give full attention to your pitch, and you run the risk of annoying the editor and blowing your music publicity opportunities with that media outlet.
Rehearse Your Pitch. Know what you are going to say before you dial the phone number. Practice your story a few times so you’ll be able to deliver your pitch in a brief and succinct way. Speak slowly and undeniable ly enough so that you are understood.
Follow Up. Confirm receipt of your promo package. If you are asked to resend any materials that went missing, send right away in the absence of complaint. Ask If the music editor would like to be added to the guest list, or if he or she would like to send music writers in his or her place. If the y do want guest passes to your show, make sure that those names are on the venue guest list.
Getting music publicity may seem difficult at 1st, but mastering these press ideas will guide to more exposure for you and your music.

1. The Definition of Publicity – 1st,  all of us  are going to start out with the exceedingly basics–some definitions of what publicity is exactly. According to the Merriam-Webster Dictionary:
Publicity – “An act or device designed to attract public interest; especially : information with news worth issued as a means of gaining public attention or support. also : The dissemination of information or promotional material.”
I may n’t have said it better myself. Publicity is EXACTLY these things.
A music publicist is hired as a member of your team to represent you to the media. Media is defined traditionally as editors and writers at newspapers, magazines, dailies, weeklies, monthlies, college newspapers, and television. Some publicists may also cover radio for interviews on tour stops, but if you want to get on the radio charts ( like CMJ), you’ll need a radio  promoter. Some publicists also cover Internet PR, like my company, but not all traditional publicists do! A publicist’s job is to liaise with the press. They are not hired to get you a booking agent or gig, a label deal, a distribution deal, or any other type of marketing deal. That is what a manager is for. They will not get you played on radio, either. This is what a radio  promoter is for. A well-connected publicist, however, may be able to hook you up with all of the abovementioned things, but it isn’t in her job description.
2. You Are in the Driver’s Seat –  Do not forget artist – you are the buyer here and you are shopping for PR. You are in the driver’s seat. It’s your resources and your music that keep publicists in business. And hiring one is like hiring another guitar player for your band. Choose one that you like who fits your vision and your goals. All a lot of times I have heard that a publicist has been hired in spite of the  performer’s  individual opinions. You should like your publicist, and she should be the right one for you.
3. With Publicity, You Pay for Effort – Never for Results – I have had disgruntled artists call me and say, “I hired a publicist and I only got six articles. That fee me $1,000 per article!” Okay. This isn’t how you quantify a Public Relations campaign. How you quantify a Public Relations campaign is by how a lot of albums were sent out, what the responses were, and even If the y were inconclusive or negative, it is how much endeavor the publicist made on your behalf. Of course, you should get some and a lot of determinations. Getting little is totally unacceptable. But you never know where your publicist’s endeavors will attend months, and occasionally years, following your campaign is complete.
4. A Public Relations Campaign Needs to be Planned Well in Advance – For long-lead press (that means magazines with national distribution like Spin, Rolling Stone and Paste), the editors put their publications to bed three full months before they hit the newsstands. So if your CD  is coming out in October, you must have it pressed with full artwork and ready with materials to mail in July. Of course not all Public Relations campaigns focus on national press (more on that later), but no publicist will take you on with zero guide time so you definitely need to prepare guide time in every case.
Good Publicity Campaign Lead Times:
National Campaign: 3-4 months before the release
Tour Press Campaign: 4-6 weeks before the show
local/regional Campaign: 4-6 weeks before placement
On-line Campaign: 2-3 weeks before placement
5. The Four Components of a Press Kit – A good press kit consists of four parts: the bio; the photo; the articles, quotes, and CD  reviews; and the CD.
* The Bio – Create a one-page bio that’s succinct and exciting to read. I strongly advise hiring a bio writer (if you may afford one, this should fee amidst $200 – $400). If you are not ready to pony up the cash, enlist an outside source to help you out. I find individuals who are wonderful story tellers make wonderful bio writers.
* The Photo – It may seem cheesy to arrange a photo shoot, but if you take this part meaningful ly you’ll deeply benefit. Create a photo that’s undeniable, light, and attention grabbing. Showing movement is a plus (sitting on a couch or up against a brick wall isn’t interesting). If you’ve a friend who knows how to use PhotoShop, enroll him to help you do some funky & fun editing.
* The Articles, Quotes & CD  Reviews – Getting that 1st article written about you may feel daunting. Two wonderful places to start are your local/regional hometown papers (barring you don’t live in NYC or Los Angeles), and any music website that you like.
* The CD  – The CD  artwork, like the press kit, must be well thought out. Do not disturb sending out advance burns of your CD  unless the writer requests them. Full artwork is always like red. Put your phone number and contact info in the CD  so if it gets separated from the press kit, the writer knows how to contact you.
6. Publicity is a Marathon, Not a Sprint – Public Relations is exceedingly diverse in nature from a radio campaign that has a specific ad date and a chart that you are paying to get placed on. Sadly for me, there is no Top 30 publicity chart. With the sheer number of albums coming out into the marketplace, it may take months longer than your publicity campaign runs to see determinations.
7. On-line Publicity is Not as Important as Offline Publicity- I always say that today ’s newspaper is tomorrow’s recycling, so don’t discount On-line publicity so promptly. For one, it is up and around for months and occasionally for years. The new research and statistics prove that individuals are reading newspapers less and less with every passing day. individuals are getting their news from the Internet, so Internet placements are absolutely a wonderful bonus.
8. Publicity Does Not Sell Records- If you are hiring a publicist to see a spike in your CD  sales, I have news for you. There’s absolutely no correlation amidst getting wonderful Public Relations and selling records. If that were true, I’d be a lot richer. Public Relations is designed to raise awareness of you in the press, to help build a story, and also build up critical acclaim. And of course, a wonderful article may guide to sales and being on N Public Relations may really help you see a spike in sales. But overall, if selling albums is your goal, Public Relations isn’t the thing you’ll need to reach it.
9. All Publicity is Good Publicity – I know  all of us  have all heard this, but it is a wonderful thing to really understand. If your goal in Public Relations is simply to get your name out there (and this should be a goal), the truth is the average person recalls exceedingly little of what they read. Only a tiny percentage gets retained, so if you really think that readers are going to recall a tepid or a mediocre review of your CD, the answer my dear friend is they will not. And never ever take your own Public Relations meaningful ly. As my favorite artist Andy Warhol once said, “ Do not read your press, weigh it.”

How does an artist move forward in the music business in the absence of the support of business professionals backing their career? How does an artist get noticed by the business professionals and get them to  encourage  the  performer’s  music? Whether your objective is to have a individual manager, a booking agent, a publicist or be signed to a record label, there is only one way to do it. And that’s doing it all yourself 1st. Taking care of all the business behind your career so that if, and when, the business professional comes on board, they use your progress and may take it to the next level.
This means- you are your own manager, booking agent, record label, distributor, marketing director, publicist, street team and more. Do each to the perfect of your ability. When you invest your time and resources into your career, you learn the ropes of the music business and get a better perspective and appreciation for the work the professionals do.  In addition,  when you invest in yourself, it inspires others to invest in you as well. think of yourself as an octopus. One central body, but multiple arms all working at the same time.
The 1st arm of your business will be THE MUSIC. This is the part of your business that’s the least business- like, but the most critical to moving forward as a business. Talent & songs are what drive this business. Work on artist ship, songwriting, and production. Write and record wonderful songs. The quality of your sound should be able to compete with commercial tracks on the Billboard charts. Figure out how to classify your genre and write a undeniable description of your musical style.
The second arm is MANAGEMENT. This is where you truly use the business side of your brain. Get outside of your music (and your ego) and try to evaluate your music and its ability to compete in the music industry. Evaluation and career preparing need to take place. There are multiple books and On-line articles on Artist Management. Create by getting career do’s and don’ts and direction by considering acts that have come before you and have achieved the success you would like to get. What did they do that you may emulate? Then determine who your listeners are and how you’ll reach them. Attend workshops on the music business and read On-line articles to get more career advice. Managers love to work with an artist who has been previously self-managed. The artist may make business decisions, and will appreciate and respect the manager’s tutelage.
The third is the RECORD LABEL/ DISTRIBUTION arm. If you’ve songs and product, you want to get it out to the public, to as a lot of individuals as possible. It’s never wise for an artist to wait to get signed to do this, as labels take notice now when you, Mr. Independent, are making a buzz selling a large number of albums. Plus you may start making some resources from your music. Sell your CDs on your website, from a local/regional seller who will take you on consignment, to all your friends and family members, at your live shows, etc…Think about where you buy music, and then get your music to those places. Distribution? Thanks to the Internet you may have world expansive  distribution. Get that CD  up on CD Baby, and be sure to select Digital Distribution. Yes, you, Mr. local/regional Guy, will soon be getting song sales in faraway places like Bangladesh!
The fourth arm is BOOKING/TOURING. Most artists I know want a booking agent. It’s a hard job, which includes gain ing a skill agency license, so there are not an abundance of agents waiting to sign a new act that has no undeniable fan base and touring history. You’ll need to gain your own bookings. Your goal is to book yourself at shows so you may share your music, build your fan base, and make resources from your music. Again, the perfect way to learn how to do this is to find books and On-line articles that tell you step-by-step how to get bookings at venue s, festivals, and national tours. Strengthen your “sales pitch” about not only what a wonderful live demonstrate for you have, but mainly how you plan to get a large listeners to come see your show. Once you’ve consistent shows and listeners are coming out steadily, you are much more attractive to a booking agent to begin working with you. You’ll be so happy to give up that job, and the agent will be happy to take on the may hem. A win-win.
The last octopus arm is the MARKETING arm. Whether you are working with no budget, a small budget or unlimited source s, you may be gin your marketing campaign as soon as you’ve either 1) a live show or 2) an album. Your goal is to reach your target listeners, and to use effective ways to excite them about what you are promoting. Make a list of where your listeners is, and ways to reach them. Think outside the box, get creative! What’s your story- what makes you unique- why should individuals care about you or your music? Answer those and you may start to  encourage. No resources? Use the Internet to spread the word, make flyers and give out them yourself, put on a free show, reach out to music reviewers for CD  reviews and newspaper & magazine writers for stories and reviews. Small budget: think about advertisement or printing merchandise to sell while touring. Getting a publicist interested in working with you is possible following you’ve identified yourself as a “newsworthy” act. Having an exciting story, being a tremendous skill, having a buzz….will get a buzz in their ear and make them take notice in you.
a lot of artists feel unsure of how to work the music business alone. They will, unfortunately, wait on moving forward in hopes a music professional will come along and steer them,  encourage  them and support them. But the music industry of today is a truly DIY industry. The number of independent acts releasing material daily far outweighs the number of qualified music professionals in the business. It’s perfect for the artist to get started in all the above areas, hopefully inspiring enthusiastic listeners to become the artists street team and following some progress inspiring music professionals to get involved. While the artist gets business savvy and builds their momentum, they also put themselves in a more authoritative position for negotiating with the music professionals/ companies. Not only will the artist have launched their career, but when a music professional joins forces with the artist, the career may really truly thrive.