Music Shows

KC & The Sunshine Band

KC and The Sunshine performer is one of the most recognizable names from the disco era of the 1970s. Throughout their career, KC and The Sunshine performer culminated a total of nine Grammy nominations, winning three of them, including two for KC and The Sunshine Band’s work on the Saturday Night Fever soundtrack, and an American Music Award as well.

Along with the Beatles, KC and the Sunshine band were the first artists to have four #1 singles in the span of one year: “Boogie Shoes“, ” Rock n Roll Your Baby”, “Get Down Tonight”, and ” That is The Way (I prefer It)”. KC & The Sunshine Band’s other hits prefer “(Shake, Shake, Shake), Shake Your Booty” and ” I am Your Boogie Man” still stand as milestones of the disco age now.

With KC & The Sunshine Band’s funky and vibrant tones, the brass oriented disco flavor that made up KC and The Sunshine Band’s sound likewise in company d Motown, Funk, Latin percussion, Caribbean spice, Southern soul, as well as pop hooks which developed their sound. KC & The Sunshine band still tour and perform now.

Today, KC and The Sunshine performer are still touring the world bringing to audiences the sensation and flavor which they’re known for.

Booking Entertainment is there to help you book KC & The Sunshine performer for your next parties. You simply fill out a form and Booking Entertainment will handle all the necessaries to offer you with the greatest experience expected whether it’s a concert or a private event.

There are several diverse categories of deals when it comes to booking your band for a show.

1) Door/ Percentage of Door

2) Guarantee

3) Combination of Guarantee + Door

4) 80/20 split

1) When you’re just starting out this is could going to be the the majority common deal you’ll see. You can be wondering why I did not mention FREE. Never is there a reason to performance for free, unless it is for charity or a cause of some kind, in which case the organizer for that show ought to at the least cover all of your costs and rentals that you can need for the show, getting to the show, food and drinks at the show. As an artist playing live you’re trying to get your name out there but more vital ly you’re selling a service.  promoters and club owners hire you and your performer members to draw people into their establishment so that they can sell beer, food and other drinks to the patrons. With larger shows the  promoter is trying to sell tickets as well as make a cut of the food and drink sales, but we’ll get into that later. For small shows it is could the owner of the club /bar or a  promoter that works internally that’s employing you, so their main concern ought to be trying to sell booze and food.

In this case, in my opinion, there should be no reason for them to take a cut of the admission to get into the show. You should be able to mutually agree on a “door price” so that it is not too high that it will drive customers away, but enough that you may justify being there. Every now and then the owner will say that he needs to take a cut of the door to cover some of the costs of the club or for whatever reason. Although I would ofttimes disagree with this but when you’re just starting out and trying to build a fan base every now and then you’ve to accept this kind of thing in order to get some exposure. Once you’ve a dedicated fan base that will show up to your shows ofttimes then you may tell the owner that you’re bound to bring in a certain number of people and that you deserve the entire door or to split the door with the rest of the musicians on the bill. Assuming that the owner is still not willing to relinquish his clutch on the door cover you may want to consider switching club s. It may be a wonderful sign to your fan base that will see the move a step up in your career.

In fact,in this form of negotiation it will be in the owner’s perfect interest to have the entry fee be little or zero as this will allow for passers by to stroll in when they hear the music. If the se possible patrons find out there is a cover to get in they may not want to drop the cash. If the  promoter is exceedingly concerned about the cover price being too high you may want to discuss the possibility of a guarantee.

2) Guarantee is where you want to be. When still playing the indie circuit this is the easy st way to book a show. All guarantee means is that the  promoter or venue owner guarantees to pay the artist a  set amount for the night. In this situation there is never an argument about how much was made at the door, and for the the majority part, never an argument about expenses. The  promoter books the band for say $100.00 to play and the rest is up to the band to deal with. This way, as an artist, you know exactly what you’re going to be making and could plan your expenses appropriately. When doing a door show there are a lot of variables including expenses to get to the gig, sound engineer, gear and then the biggest variable, THAT individuals show up ! If nobody shows up to a door gig you do not make any resources and all expenses are out of pocket. When doing a guarantee there are still variables but at least there is no variable of individuals. Either the  promoter is counting on individuals walking by to come in and have a drink or is doing their level optimum to sell tickets for the show. All you’ve to worry about in this situation is showing up on time, sounding the optimum you could during the sound check, making a final ing impression on the  promoter and doing what you do optimum… blowing the audiences away.

3) The next perfect thing to having a show that pays a guarantee is having a show that pays both a guarantee and a bonus for the amount of people that show up. This is a rare case and may be a excellent deal, but on occasion this doesn’t work to your favor.  promoters who are looking to save some resources will try to book performers with a smaller guarantee and a cut of the door or ticket sales. This may not be as wonderful because it doesn’t “guarantee” you an amount, nonetheless if you are expecting a large crowd to this show or are able to get a wonderful buzz going, this may be the way to go.

4) The 80/20 Spl it is a common deal when you have a booking agent and are playing large shows. 80/20 splits are al the majority always booked by an outside  promoter or an organizer for an event. The deal is unusually similar to a guarantee, the only difference occurs when the  promoter breaks even with his costs. The way it breaks down, the  promoter lays out all costs on his part such as security, Club rental, advertising, cost for printing tickets, food and drinks for performer and crew, gear rental, and all other costs for putting on the show. The  promoter additionally includes a 10  percent  promoter cost to pay himself and a guarantee for the band. Once all of these costs have been met from ticket sales, the remainder is profit and that’s where the split comes in. And can be to your surprise, as it was to mine, it is spilt 80  percent to the musician 20  percent to the  promoter. This is al the majority a glorified guarantee and door deal except the musician gets 80  percent of the ticket sales once all costs are covered. All performers hope to get themselves here one day as this is the the majority profitable concert deal, the only downside is by the time you get to this point there are usually multiple other hands in your pot such as musician managers, booking agents and sometimes record businesses. It is difficult when you’re an musician in demand to stay on top of your own affairs, and the more in demand you become the more you will find yourself neglecting other parts of your job as an artist. At this time you should think about giving away a piece of your pie in order to be able to focus on the parts of your career that are the majority important to you. Nonetheless, all of us will get into this at a later point in much more detail.

Here is a standard breakdown of negotiations. The  promoter is going to want something specific from the artist, the majority of the time this to have the performer to play for as little money as possible. The performer furthermore wants something, regularly to play for as much money as possible or for as a lot of people as possible. The way that standard negotiations work is that both get togethers are going to try to get as much as they may of what they want. In order to do so, both get togethers are going to ex vary other points of the deal to trade for things that they want. So your task in order to prep for negotiating with a  promoter or a venue owner is to evaluate what you want out of this show in a best world (these are called deal points) and rate each deal point in order of importance to you as an artist/band. If money is the the majority vital thing in this show for you then that’s what you are going to be after and may have to give up other deal points in order to get more of what you want. In a situation where the  promoter is willing to give you a  set amount say $100.00 for the show and 5 free tickets to invite whomever you want, but you are playing in a city where you do not know anyone, you may ask the  promoter to cash those tickets at price back to him. If each ticket is $10.00 then it would be reasonable to ask the  promoter for a $150.00 guarantee with no tickets.

For an opposite situation where resources isn’t that necessary to you and exposure in this new town can be a higher priority, you can want to ask the  promoter to pay you $50.00 for the night and get 10 tickets, and invite members of the Regional press or can be some record label representatives to attend for free to expose your music to them in hopes you can get on their show or reviewed in their newspaper/magazine.

Decide what you and your band mates find are necessary to you for this specific show and fight for those points. A master negotiator knows how to get everything that they want and giving up uncommonly little of what they have. You’ve to learn what you think will be necessary to the  promoter and what isn’t so necessary to you and use those points to trade for what you want. likewise, attitude with negotiations is half the game. If the  promoter feels that the deal points you are giving away are not necessary to you, then he/she may not feel it to be an adequate trade for something that they do find necessary to them. You need to give the impression that everything that you are trading away is uncommonly necessary to you. Make a extensive deal. Make them feel prefer they stole it away from you. Another approach is that you make the  promoter feel prefer you are doing them a favor. This approach may either work well or back fire and make you feel stupid. If the  promoter has any brains he knows what is necessary to you and what’s not. If you try to tell him that you are going to ” endorse him out” or give him the whole “I’lltell you what” line, then you better be giving him something worth his while. Otherwise he will not be fooled and will ask for much more from you then you may be willing to give up.

Understand that in practicing negotiations you are might going to blow a couple of deals. If you push things too far, the  promoter might get sick of getting nowhere and book another band. Unfortunately this is going to happen. This is great time to practice another, al most more vital skills when dealing with the music industry, DAMAGE CONTROL. No matter where you are in your career things are going to go wrong, that’s just a fact of life. Issues will arise and you’ll have to recover from mistakes. Being able to fix your issues or at least make the most of a bad situation is a wonderful skill to have and sign of a great business man. In a case when you have pushed a  promoter too far you might have to apologize and make up a story of how you had been dicked around by another  promoter and has been just being careful. Whatever the excuse can be, there is frequently a way to increase the situation as long as you haven’t burned the bridge completely.

In the same breathe I am going to reiterate something that I said in the final podcast. If you find that you are giving up too much in the deal or the deal is just not sounding as promising as it once was, get out. Yes, on occasion you need to give a little to get a little, but you can’t let  promoters step all over you. If you are not getting what you feel that you deserve, make a statement and tell the  promoter that you are no longer interested because you are not one to be taken advantage of. Advise the  promoter that If they wish to renegotiate they have your number. One of two things will happen, either the  promoter will look for another band who will quietly accept what you refused to, or they will come to their senses, give you a call and try to work something new out. Assume they will not call you back.

Well that about does it for booking. If you have any questions or a situation that you can be in that you would like us to comment on, send us a message in our contact section and all of us will either email you back or mention it in the next podcast.

You have brought together three or four of the optimum musicians in town, and they’re jamming to your tunes. You have spent days and evenings writing and rewriting lyrics, and you have been working hard to optimum your sound. Finally, following many months of practice, you are ready to reap the advantages of your hard work. But how do you begin?

As a new band, the idea of booking your first show may prove to be a daunting task. However, it doesn’t have to be. By following these easy steps, you may turn a apparently overwhelming process into a productive one.

Making sure that the members of the performer are all on the same page is an essential 1st step in the booking process. Agree on a number of concert per month that everyone will play. Put together a performance of your optimum songs and make a demo. Your demo ought to not include full-length songs ; several short snippets of your strongest material will showcase your band’s strengths and will sell your performer to potential Clubs with little or no quest. With your demo, include a photo of the band, a short statement about the music or genre that the performer plays, and your contact information, including the band’s web site. Decide what Clubs you’re interested in playing and how much you’ll charge them for playing, if anything. Getting these details out of the way early will create wonderful communication among the performer members, thus avoiding misunderstandings in the future.

Next, do your research. Scope out the Local/Regional scene; find out who your competition is, which artists performance where, what Venues cater to your specific sound, and who your target audiences is. Talk to seasoned Local/Regional acts; a number of times times, your fellow artists will be your optimum sources of information. Getting to know your competition, your audiences and your Local/Regional scene will prove to be an indispensable tool when you are selling yourself to venue owners and booking agents. additionally, be open to anything. Limiting yourself to venues and bars will hinder your occasions of booking your band. Find out about open-mic nights in your area, offer to open for other artists for free and find out about Local/Regional fairs and festivals where your performer might get some exposure.

When you are out and about checking out potential Venues, ask for the names of the people responsible for booking performers at that location. Get their contact information and keep track. Use all of your contacts and, when calling them, be brief and to the point. Ask them If they have time to talk, and if not, when it would be a wonderful time to contact them. Ask for permission before submitting your demo. Be persistent, but not pushy, and realize that it will take some time to get that job. Once you do get the gig, be sure to discuss payment, if any, as well as what you will need to bring as opposed to what the Venue will offer. Be professional and be honest.

With determination, a little know-how, and some clever self-promotion, you may land that first show and be on your way to success in no time.

An vital part of making it in the Hip Hop industry is having the right beats or instrumental. You can have the best lyrics in the world, but if you record it over the wrong beat the song will not be a hit. The best thing to do is to find a beat that fits your style or write to a beat.

Furthermore make shore your hook sounds wonderful with the beat. The worse thing is to have a wonderful verse and when it comes to the hook it falls short. When purchasing a beat the best thing to do is find the best beat for the lowest price.

Still another thing is to get a beat you could use for life. There’s hardly anything wrong with leasing a beat but you could get into a lot of inconvenience if you make a hot song and the time on the beat is up. The person who owns the beat could not want to re-lease it to you for any number of reasons. Some of these reasons can be the person wants to use the beat for them self, they want to sell the beat to a more create artist, they want you to pay a ridicules amount or just they do not like the type of song you made.

It will save you quite a bit of trouble to have a beat you know you can use any time for years to come. Having original beats on your demo will show record labels that you’re significant about your career. A web site that has some nice original beats is http://upbeat.tk which is highly recommended. If you follow these suggestions buying a beat will now be easy and more necessary ly stress free.

Getting Started As A Rapper

If you want to be a rapper or a hip hop producer then you will could want to buy some royalty free hip hop beats Online to get started with. These are beats that you may literally do anything you want with without paying any royalty fees. You basic ally buy the beats up front and then they are yours to do whatever you want with.

Stale Beats

The problem you could run into is that a lot of places will be selling uncommonly stale beats that could have sounded fresh in 1993 but sound uncommonly dated today. You’re going to want to have access to the freshest beats.

Different Styles/Genres

Some websites that sell hip hop beats On-line only have several diverse type ofs (or styles) to download. It is perfect to go to a website that has a large selection of styles so that you may be sure you may find exactly what you’re looking for.

Selection

There are some websites that only have several hundred beats to pick from. That’s no good. You can not find what you’re looking for with a smaller selection. Or you can end up using the exact same beats as a lot of other individuals. This will make it much harder to stand out in the crowd.

As a white male rapidly approaching his fifties I’m might the last one who should write such an article as this. However, as a father of a couple of young people who do sometimes listen to this genre and a concerned citizen who thinks can be we are all wearing our emotions too close to the end of our sleeves; I wonder Assuming that the re is not one thing we can do better. The strange thing is I find Hip Hop somehow exhilarating and sometimes even find myself enjoying the music playing on my son’s car radio.

The rhythm is catching, the beat will inspire you to move, with words and music it feeds your soul.

These dynamic lyricists, who put out words, performance to exceptional music that denigrate women, vilify authority, and reinforce hopelessness; they make sexual pleasure impure, they are drunk on the misery and hopelessness of their generation.

prefer the men who stole their forgotten ancestors to sell them into slavery, they sell their personal individuals into the psychological slavery of hopelessness and despair. prefer the slave owners of the past, the buyers are there. Wouldn’t it be greatness, excellence and blessing if instead this dynamic, compelling and inspiring musical genre was used to further the dream of the greatness of King?

Wouldn’t it bring blessing Assuming that the buyers were as committed as Lincoln to freedom and liberty? Rise up you writers, gifted in music and words! Grasp the prize of greatness and like the excellent leaders before you, throw your fellow humans a rope of hope!

Indian Hip-Hop is a amazing mixture of conventional Indian musical rudiments with hip hop music. Hip-Hop differ d all the dynamics of world music in 1990s. It’s a form of music which focuses more on message or lyrics of the song than the music. To understand Indian instrumental Hip-Hop music all of us will have to look at instrumental and Hip-Hop music separately. Indian instrumental music is a part of the amazing tradition of Indian classical music. Indian classical music is one of the prime constituent of amazing Indian lineage. Whereas Hip-Hop originated from Afro-American culture and now it is more of a global phenomenon. The mixing of these two forms of music determinations in captivating instrumental Hip-Hop music.

Instrumental Hip-Hop music redefined the music scenario to the extent that it’s thought to be as a type of its own. It’s one of the the majority experimental forms of music. Slowly India is also catching up with this new type of. Instrumental Hip-Hop uses one or more Local music with other instruments. For example, Indian instrumental hip-hop music mixes few of the Indian languages with percussion or other Indian instruments like Veena or Sitar and thus comes out a completely new form of music which is soothing to the ears. Other experiment includes using Indian movies tunes with numerous instruments.

Indian hip-hop musical segment is still in evolution stage. Though, few of the Indian artists have managed to make a name for themselves on international scale. One of the the majority popular Indian Hip Hop artists who’s credited to carve a niche for himself is Asoka. Basically a solo performer, he has worked with famous rappers as well. Asoka has worked with one of the world’s the majority popular rappers, The Outlawz. Not only that, he has prominently featured in major mix tapes. Other prominent Indian hip-hop artists are Srik, OBB, Sagar, PRX etc.

Radio-One personal ity, Cory “CoCo Brother” Condrey is on a mission to bridge the gap between the church and the streets. Confirming that hip-hop is a universal language, Condrey uses his Atlanta-based wide cast to provide fans with inspiring music and messages from celebrities, hip-hop personalities, and leading pastors. While prayer and Biblical instruction are staple program attributes, Condrey provides balance in an entertaining yet relevant way. In between hip-hop infused praise and worship performance s, fans of all ages call in or visit the station–some to pray or share testimonies others to “clown” and even cry.

Although Radio-One’s programming includes a gospel music station, the Spirit of Hip-Hop (SOHH) was created to offer positive music for the urban mainstream market. Proof that the model works, in less than two years, Condrey’s one-hour program morphed into a six-hour syndicated program with over 10 million listeners in 15 Radio-One markets.

Un prefer holy hip-hop music, which generally attracts people of faith who prefer hip-hop and hip-hop fans who prefer inspirational rap, the SOHH broad cast is geared towards hip-hop overall. As such, it isn’t uncommon for fans to hear positive verses from 50 Cent or Lyfe Jennings mixed in with Mary Mary or Kirk Franklin joints.

SOHH is a vehicle Condrey uses to  encourage  “positive lifestyle options, which embrace family members, community, and culture.” a number of times, Condrey along with guest hosts, comedian John “Manna God” Gray and hip-hop R&P (rhythm & praise is an alternate to rhythm & blues) recording artist, Canton Jones can be heard discussing relationships, sharing their personal struggles or fielding calls from fans with struggles of their personal. Through the Spirit of Hip-Hop, Condrey demonstrates how to balance having faith in God with having fun.

When it comes to hip-hop production there are a few names that will the majority prefer ly will come up in any conversation on this topic. Although there are thousands of hip-hop producers out there, there are a few that shine out prefer stars in a black sky. This article will take a look at some of the the majority well known and accomplished hip-hop producers out today.

Timabaland – This Virginia native began to make a real large name for himself as a music producer in the late 90’s. He really made a name for himself by producing chart topping tracks for three central performers – Missy Elliott, Aaliyah and Ginuine. He then began producing tracks for some of the industries hottest rappers such as Jay-Z, Nas, Ludacris and Snoop Dogg. What makes Timbaland unique is his particularly distinctive sound. When a Timbaland track comes on, you know it. Previously few years he has took his style of beat making to promote the careers of many performer outside of the hip-hop type of such as Justin Timberlake, Bjork, Ashlee Simpson and Nelly Furtado. To this day Timbaland is one of the industries most sought following producers.

Kanye West - Kanye is definitely one of the top hip-hop producers out there right now. Kanye who has been raised on the south side of Chicago began making beats at a remarkably young age. He has been known in Chicago for working with Local/Regional artist for years until he decided to move to NY with a catalog of beats and a passion to succeed. His ample break came in 2001 when he has been hired by super star rapper Jay-Z to establish some tracks for his up coming album “The Blueprint”, which sold over 400,000 copies in it is first week. After that success, Kanye began working with many ample named artist such as Brandy, Jamie Foxx and Ludacris. Kanye is known for taking old school samples and turning them into monster hits.

Dr. Dre – Dr. Dre can be hip-hop’s the majority recognized and accomplished producers of them all. Dre is another one of those talent ed producers with his own sound. His sound is might one of the the majority imitated but never duplicated one’s in the music producing world. Dre, who began getting his much do attention in the late 80’s by producing tracks for gangsta rap group N.W.A. . That has been just the beginning of his untouchable career. Since the late 80’s, Dre has been the mastermind behind tons of hits from artist such as Eminem, 50 Cent, Snoop Dogg, Mary J Blige, Eve and Jay-Z just to name several. Dre continues to establish hip-hop classic’s to this substantially day.

The history of hip hop is one that has been born upon the back of a group of silenced youth. Inner city youth felt that not only were they not getting a fair shake at a quality life but that they weren’t even being heard. Our history shows that when expression is suppressed something bad, oftentimes aggressive is about to follow. In the case of hip hop thankfully the aggression was not expressed in the form of violence but rather in a movement that would change not only the urban areas close to its birth but our society as a whole!

In the beginning, hip hop was not even regarded as hip hop. In the mid to late 70s young black and Latino youths from the Bronx were looking for a way to express themselves and started to have open microphones at house gatherings which they would use to perform a type of poetry over any song that has been currently playing. This has been the creation of rap music. Although rapping could seem easy to a novice the fact of the matter has been not everybody had the talent to express themselves in this manner. So another form of self expression associated with rap has been born in the form of break dancing. individuals could be found not only at gatherings but on street corners with virtually nothing more then a boom box and a piece of cardboard, dancing for self expression and even for resources in some cases. The final form of expression is the the majority controversial one! Some youth could not rap nor could they dance but they had to find an outlet or a way in which they could additionally be a part of this movement. What they did have has been the ability to draw. This art form which to the majority is considered graffiti has been now renamed “tagging” in the hip hop community. Whether you agree with the way in which they went about showing off their talent, no one could take away the fact that they truly were talent ed. Tagging has been when the artist of one clique or crew would establish a symbol or phrase that has been now his group’s logo and spray paint this on subway trains. Why subway trains and not just walls? Well, the fact that the subway system ran throughout the city has been advertisement of his crew to the other respective crews. It became a game in the sense that if you could place your tag over top another groups tag you would have essentially performed the hip hop version of a check mate!

So what is hip hop? Hip hop is the mixture of all three of the above mentioned aspects. Rapping, break dancing and graffiti art are all equal forms of the hip hop movement. Some might argue the message that some hip hop sends but the fact that these men and women are performers is not even debatable. Hip hop was a feeling much before it ever became a means of expression and it will stay a way of life long following all of the forms expression is gone!