NO!
There are no guarantees in life.

We have a plan of action and that is what we do.

This business is about numbers, popularity and a lot more. 

It use to be about good music.

Now it is about business.

Lets get it started.

Do you know how to take your career to the next level?

After a certain point, artists need to start looking at putting together a team to help them get further in the industry.

This is where the Artists Professional Team comes in.

This is your elite team of industry insiders that are diligently working to get your music and your artist out to the public…or at least that’s what they should be doing.

It’s important to know the role of each member of your professional team so that you can hire the best person for the job.

Personal Manager:

Probably the most important person working for your artist, the personal manager is essentially the quarterback of your artist.

They’re responsible for coordinating all efforts between the artist and your record label, radio promoter, publicist, publisher, booking agent, and business manager and all other music contacts.

Your personal manager should be the first member of your team that you choose, and can then help you assemble the rest of your team.

The manager will also usually make some business decisions for the artist, assist in the creative process, as well as working with your record label.

Business Manager:

You may not be able to afford a business manager at first, but the more money you start making, the more likely it is that you’re going to need a business manager.

The business manager usually collects royalty checks for the artists, takes care of their bills, and makes sure to properly handle all taxes and investments on behalf of the artist.

Attorney:

Probably the most powerful member of your music contacts will be your attorney.

The attorney deals on your behalf with all the major power brokers you encounter during the course of your career.

Your attorney should be heavily involved in negotiations whenever you sign contracts with publishers, labels, managers, and agent.

Many of the most prominent entertainment attorneys are based in New York and Los Angeles, but others have been spreading to cities such as Nashville, Atlanta, Chicago, and Philadelphia.

Booking Agent:

Having the right booking agent can make the difference between playing a good show and playing a great show.

Agents are responsible for scheduling live performances for artists for either individual dates, or regional and national tours.

You want to find a talented agent that has established relationships with many of the big name venues all throughout the country.

Booking agents can sometimes be the most difficult member of your team to secure because you often need to convince them that you are worth their time and effort.

Publicist:

The publicist’s job is to obtain media coverage for clients in print, TV, and electronic media. Their responsibilities usually include securing media coverage, mailing/emailing press kits to music writers, communicating with the manager/agent/record label, and hiring hair and makeup teams for TV and magazine shoots.

A&R has always been one of the most misunderstood aspects of the music industry.

Heck, a lot of people don’t even know what A&R stands for (Artist and Repertoire, taken from the days where an A&R reps job was to link songwriters up with a performing artist).

In the past, the most commonly known aspect of an A&R reps job was discovering unsigned talent and getting them a record deal, which was partially true.

Today, you don’t even have to leave your couch to discover new music, but musicians still salivate at the thought of getting their music discovered by an A&R rep.

Truth is there aren’t that many major record labels anymore, meaning less A&R departments, meaning an even less chance of being discovered by one of them.

It has been said by many in the industry that in the digital age, A&R is dead.

However, like most facets of the music business, the digital age has merely transformed it.

Now there is a new definition of how A&R works.

Back in “golden years”, A&R used to serve as the middleman between the artist and record label and work very closely with the artist.
They would discover an artist, convince the record executives to sign them, find the artist a record producer and studio, and help develop many aspects of the artist’s career such as style, promotion and marketing.

Thanks to the Internet, the artists themselves can do most of that.

Today, recording hardware and software is cheap, accessible, and can be easily run by monkeys, marketing and promotion can be done through social media websites and digital distribution, and now every major player in the business won’t even acknowledge you unless you already have some self-made fans.

So now, who is A&R for?
Record labels?  Artists?
Do A&R services even exist anymore?

The answer is YES.
Although there are a lot less of major labels, the power of an A&R rep is diminished, and the web has provided an easy way to discover music, these labels still have a few A&R reps that have new methods for discovering new artists, and are used to filter though the watered-down internet.

In the independent label world, old school A&R is still used, and actually still a very relevant way to scout new talent.

The best example of this is indie label XL Recordings discovery, development, and utmost support of Adele a few years ago.

Other than that, the face of A&R has changed so much; most wouldn’t even recognize it anymore.

Many have been saying that music supervisors are the new A&R people.

Music supervisors are the ones whom, most of the time, are selecting music for film, TV, and video game projects (among other duties).

Some 90% of the music placed in these projects comes from unsigned, independent artists, and many have been discovered and launched successful careers by this approach.

The Artic Monkeys were the first artist whose career was greatly impacted by MySpace support, and Incredibly popular music blogs have a lot of pull and can serve as the new “gatekeepers”.

A blog like Brooklyn Vegan, one that is viewed by millions a month, can essentially make or break a new artist simply by featuring an artist on their homepage.

Other sites like Yahoo music helped launched the Plain White T’s, and sites like YouTube offer an excellent platform for videos, and are debuted on a weekly basis.

YouTube has also expressed that they are not just in it to just throw any old artist up, and hope for the best.

The label department of YouTube actively seeks out artists that they actually believe in.

Music publishers have also been thrown into this new A&R conversation as well.

Long before Coldplay was signed to Capitol Records, they were affiliated with BMG music publishing that provided funds for recording, and even shopped the artist to labels.

Chrysalis music publishing also is building a reputation for really getting behind and pushing their artists into the spotlight.

Ultimately, the fan is the true A&R rep of today.

With all the options and avenues to discover music on our own (and 99% of the time it’s free), the fan is truly the sole “gatekeeper”.

Fact is, cream rises to the top.
Most every major player in the music industry will tell you the best advice they can give artists and artists is, “Just be good”, and the fans will let you know if you are.

Bottom line is, if you really do have great songs, there should be no excuse not to be discovered with all the amazing technologies today that allow you to get your music in the peoples’ hands cheaply.

If you are serious about getting presented to the many industries that can make you successful then lets get it started.

Are you frustrated with the slow progress you’ve faced in growing your online fan base across your social media platforms?

Now more than ever your online presence is one of the most important aspects of any artist or musician’s career and can no longer be ignored.

We know how daunting a challenge it can be.

It’s both time-consuming and often disheartening all the while you’re understandably more focused on your art.

So whether it’s substantially increasing your Twitter, Instagram or Sound Cloud followers, or connecting with brand new YouTube subscribers, we’ve got you covered.

We’ve developed highly effective, completely organic methods of bringing you and your music to the attention of fresh new fans who are just waiting to discover you.

If you are ready to grow your audience and take your social media presence to the next level, contact us!

In addition to our social media promotional services, our marketing services remain the best in the industry.

We have long-standing relationships with top tier programmers across the country and will promote your music video to national outlets (MTV, MTV2, REVOLT, mtvU, BET, Much Music, FUSE/FM, AXS-TV), regional video shows (California Music Channel, JBTV etc.), retail video pools (outlets that provide in-store music video programming to retailers, fitness centers, shopping malls, nightlife locations, etc.), video-on-demand providers (Music Choice, PCMusic, Havoc TV), mobile phones and tablets, nightclubs and numerous high profile Internet outlets and blogs.

Why Do You Need To Be Treated Like A Startup Company?

The parallels between a startup and an Artist in its infancy, explaining why many of the same principles, which govern a successful startup and allow it successfully get off the ground can be applied with equal success to an Artist.

Amazon. Google. CCR. Nirvana. Besides their overwhelming individual successes and influence, they all have something else in common: every single one of them started in a garage. Just like coders in a startup focus strictly on their core product, Artists in their infancy tend to devote almost all of their time on music, and why wouldn’t they? Nobody wants to listen to bad music!

But you know what else they all have in common?

They got their start in a garage but didn’t stay there.

They became multibillion-dollar industry leaders and sold out arenas.

If you want to make a career in the music industry, you’ll have to tackle business issues with no less energy and creativity than you bring to the music.

Let’s face it, the business side of music isn’t always sexy; we’d all rather spend time with our favorite instrument than calculating the ROI of tours, profitability of different merch lines, and everything else.

However, if you’re not paying attention, the expenses associated with your growth tactics can quickly strip away any revenues.

The solution to this is to treat your Artist just like that scrappy startup whose clearest measure of success is user acquisition cost, or how much you need to spend to win over each new customer.

Artists, of course, call these customers “fans” and the goal is to get as many of them at the lowest possible cost.

To get out of garage mode, you’ll need to be curious yet stay laser focused: every penny your Artist spends — from music videos to new songs, guitar strings to gas — should contribute in some way to your goal of adding new fans.

Every Artist has different user acquisition tactics, but most will use some blend of these:

• Releasing new music is absolutely necessary but the costs of studio time, generating album artwork, time spent writing, release fees, and advertising can really add up.

• Fortunately companies like CD Baby can help you through the whole process of releasing and selling your music.

• Releasing visual content like music videos, vlogs, and livestreams helps build your brand and gives you a mass platform for engaging with all of your fans, but you’ll need to invest a lot of time and money in planning, filming, editing, and advertising it.

• Playing live shows helps you connect more intimately with fans and grow your presence regionally, and ticket sales and merch are responsible for huge chunks of most Artists’ income.

• However, a good tour requires lots of time to plan and significant financial investment for food, lodging, booking, promos, fuel, and auto maintenance or rental.

Calculating costs for fan acquisition:

A startup would sum up their marketing expenses and divide them by the number of new customers they added to calculate their user acquisition cost.

Your Artist’s expenses are pretty straightforward to calculate: save receipts and invoices and be diligent to log them somewhere.

The hardest part of the equation is counting your new fans, but you’ll first need to set goals and define what a new fan even is.

To pull it off, you’ll need visibility into several different channels including social media likes and followers, digital stream count, album sales, live show attendance, and email list subscribers.

The good news is that it’s easy to track the effects when you release new music and video content online.

Most social, streaming, and distribution platforms offer audience analytics tools to you for little or no charge; use them!

For a more comprehensive view of how your business is advancing, you should also consider trying out a free tool like Next Big Sound.

The number of new fans gained from live shows can be trickier to pin down, but one great tactic is to encourage new fans to drop by the merch table and sign up for your mailing list.

Offer an item like a sticker or a free song download to drive more of them to convert from passive listeners to active fans.

You’ll be able to reap the obvious benefit of having a way to contact new fans for plugging your new single or tour, and — every bit as importantly — you’ll also have a concrete list of new users.

At the end of the tour, divide the total cost of the tour by the count of new email addresses in your dataset.

There will be some trial and error to the inexact science of expanding your fan base, but you should always be in the cycle of trying something new, measuring its success, and learning from it.

If you’re ready to decrease your user acquisition costs, here are some practical, tried-and-true growth hacks you can try in order to stretch your Artist’s dollars the furthest:

Co-writing:

Find another Artist or artist to collaborate with on a new song, then co-write and release it together. If you split the recording and advertising costs, the savings can really add up.

More importantly, when both Artists push the song to their fans, you’ll trade access to your fans for access to theirs, which increases the potential of your return.

Video content:

Attention spans are low and content is king. Sharing content regularly is a great way to engage with your fans. You probably can’t release a new song every week or hit areas on tour more than once or twice a year, but you can post good content frequently, and it doesn’t have to cost a ton of money.

Having professional music videos is great, but creating lots of low-budget video content can be even more effective.

Try releasing a “behind the music” for each track on your new album to give fans the inside scoop of the song and recording process.

Livestream your acoustic sets.

Post videos from the road.

The more content you have, the more the audience will feel connected to you and the more willing they’ll be to dish out for your new record or show up when you visit their town.

These users tend to have a higher lifetime value for your Artist and are also the most likely to share your content with their friends, helping you organically increase your following.

Playing live shows:

When you’re traveling to new markets to reach new fans, make sure you’re actually playing for a crowd and not empty rooms. If you don’t yet have a significant number of fans in that new market, it’s critical to connect with Artists who do. It doesn’t cost a thing to have them open a show in front of your fans in exchange for you playing in front of theirs.

Artists have been swapping shows like this as long as tours have been played, and for good reason: it’s by far the most cost-effective way to grow your live music fan base. Once you’ve played a market a few times and earned some fans of your own, you’ll be able to leverage that asset to get better offers from area venues and promoters.

Arranging a good show swap can be really time consuming, so consider trading shows inside of a big, international network like Flock (flocklive.com) in order to ensure you’re playing in front of people and not just chairs, even in those markets you haven’t played before.

We help people who pay us to help them.
It takes money to make money.
Business is about who you know as well as what you do.
Nothing in life is for free.

Copyright covers creative works of expression fixed into a tangible medium of expression.

Trademark covers business names, slogans and other items used to identify it in the marketplace.

Patent covers ideas and inventions.

5 Things That Can’t Be Copyrighted.

Copyright FreeModern copyright law can feel extremely broad at times. Every creative work made, whether it is a doodle on a napkin, a photograph or a poem, once it is fixed into a tangible medium of expression, the creator holds the copyright to it. No notice nor any further action is required (though registration with the U.S. Copyright Office has many added benefits).

Still, there are many things that can not be copyrighted. They either don’t fall under the jurisdiction of copyright or don’t qualify for its protection. There are also exemptions and that place some content immediately into the public domain.

So if you’ve ever wondered about the things you can’t copyright, here is a short list of five of the more important ones.

1. Titles and Names.

Copyright protection does not extend to titles, names, slogans or short phrases, the Copyright Office has made that much very clear. You can not copyright your name, the title of your post or any short phrase that you use to identify a work.

The reason is that copyright is designed to protect works of creative authorship, it is not designed to protect how that work is identified in the marketplace, the same goes for people and places. Furthermore, such short phrases rarely meet the requisite level of creativity to be considered for copyright protection.

Caveat: Titles may not be copyrighted, but if they are used to identify a business, good or service in the marketplace, they can be given trademark protection. If you use a title in a way that might cause confusion in the marketplace, there could be trademark issues. However, if you want to make a post entitled “5 Things That Can’t Be Copyrighted”, you are free to do so.

2. Ideas.

Ideas can not be copyrighted because they are not fixed into a tangible medium of expression. For a work to be copyrighted, it has to be written down, saved to a hard drive or somehow otherwise fixed.

For example, if you give a speech but fail to write it down first and it isn’t recorded, there is no copyright protection. Likewise, if you tell an idea to a friend, you don’t receive copyright protection if they run with it and use it for themselves, that is, unless you write it down.

However, even ideas that are fixed do not receive protection in and of themselves. Rather, it is the expression of the idea that is protected.

My “5 Things That Can’t Be Copyrighted” post is fixed, but you can certainly write your own post with the same title and idea.

However, you can not use my exact words, unless, of course, you follow my CC license.

Caveat: When it comes to derivative works, there can be a lot of gray area between an un-copyrightable idea and an infringing derivative. You can, for example, write your own book about a boy wizard and a wizard school, but you can’t use any of the characters from Harry Potter. Where the line is drawn is often murky and usually decided on a case-by-case basis. Also, in many cases ideas can be patented, such as inventions, but that enters into another area of intellectual property.

3. Works By the U.S. Federal Government.

Works by the U.S. Government are placed directly into the public domain as the Federal government is barred from holding copyright in its work.

This is why NASA’s images, which are very popular on the Web, can be freely copied and shared and also why laws and statutes can be posted anywhere online.

There are many reasons for this, the first being that taxpayer money is spent on creating the works so it is fair they should be given back to the populace. Also, it’s a freedom of speech issue as the government can not use copyright to stifle criticism.

Caveat: This is not true in all countries. Australia, Canada and the UK all have crown copyright, that enables the government to hold copyright protection to certain works. Also, the U.S. government can hold copyrights in works if they transferred to it, for example by contractors. Also, the government has other laws, such as state secrecy laws, to prevent the distribution of information.

4. Works Without Authorship/Facts.

Though the photos that come with your calendar are probably copyright-protected, the calendar itself is not. Likewise, you can’t copyright the lines on a notebook-ruled paper or, sadly for the phone companies, even telephone directories are not protected.

The reason is that a work has to have a requisite level of creativity in order to qualify for copyright protection and if a work is just a repetition of facts without any creativity, it isn’t protected. This is true even if a great deal of effort went into making the product, as with a phone book.

Likewise, facts and information can’t be copyrighted though the expression of those facts often can be.

Caveat: The level of requisite creativity is actually fairly low. A phone book may not be copyright protected, but a top ten list of the funniest names in the phone book might be. Also, other countries, including the UK and Australia, follow a “sweat of the brow” doctrine that says a collection of facts can be copyrighted if the collector underwent a great deal of effort to compile them (and didn’t merely copy from another source).

5. Fashion.

This may surprise many, but fashion designers, currently, enjoy no copyright protection in their work. Their designs are not covered under the current code even though architectural and even vessel hulls are protected.

The reason is because fashion pieces are considered useful articles and, as such, only enjoy copyright protection for certain elements and “only if, and only to the extent that, such design incorporates pictorial, graphic, or sculptural features that can be identified separately from, and are capable of existing independently of, the utilitarian aspects of the article.”

In short, a pattern on a shirt might be copyrightable, but the shirt itself is not. Likewise, an intricate belt buckle design might qualify for protection but not the belt itself.

However, the overall cut, colors and style do not enjoy any protection at all.

Caveat: Fashion designers can, if they wish to go through the time and expense, paten their designs. Also, as mentioned above, elements of a useful article may qualify for copyright protection separate from the work itself. Finally, this is not universally true and legislation is almost constantly being circulated to weigh the possibility of expanding copyright protection to cover fashion. Finally, do note that trademark still protects the names of the companies that make and distribute the clothing.

Bottom Line?

Copyright is everywhere. Every video, every picture, every written piece, every audio file, every sculpture, every building design created this year will be copyright protected, at least initially and at least to some degree.

However, there are places that copyright’s protection does not reach and those places are worth noting just as strongly as what it does protect.

Regardless, the next time someone says that everything is copyrighted these days, here are five examples of things that aren’t and, in most cases, likely never will be.

——————————————————————————

To hear intellectual property attorneys describe it, it seems so simple. Copyright covers creative works of expression fixed into a tangible medium of expression. Trademark covers business names, slogans and other items used to identify it in the marketplace. Patent covers ideas and inventions.

Simple.

Then what about logos?

Logos are one of those spaces of intellectual property law where there is a great deal of overlap between two areas, in this case copyright and trademark, and businesses are known for using both to protect their logos from undesired use.

So where are the lines drawn? The answers aren’t very simple and requires looking deeper into what copyright and trademark protect and, even then, there aren’t very many clear answers to give, just a lot of gray area that has to be taken one case at a time.

Trademark and Logos.

When most people think of intellectual property and logos, they leap to trademark and for good reason.

Trademark is about protecting things that identify a business in the marketplace and logos are among the most important means of identification.

As such, logos are generally protected by trademark and enforceable as such.

In many ways, trademark is much more broad than copyright. Where copyright doesn’t expand to things such as names, colors, typefaces, designs, etc. trademark does or at least can. However, trademark is also much more limited than copyright in that, where copyright is designed to protect against almost all unlicensed copying that is outside of fair use, trademark only deals with use of the mark that causes confusion in that company’s marketplace.

For example, Ace Hardware certainly has a trademark on their name, but they can’t stop Ace Bandages from also using the name as they are in separate markets (unless you are very careless when doing home repair). Likewise, Delta Airline and Delta Faucets share a trademark without incident and Apple Computers and Apple Music also shared a mark without major conflict (beyond a scuffle in 1989), that is until Apple entered the music business with iTunes.

All in all, logos, by their very nature, are used to identify businesses and groups and though trademark protection covers many additional things, it offers a much more narrow scope of protection. In short, trademark is designed not to prevent copying, but confusion in the marketplace, thus severely limiting what uses of the logo can be considered infringing.

Copyright and Logos.

In order for a work to have copyright protection, it must reach a requisite level of creativity. Many logos, however, do not. Since copyright can’t protect a name, colors or the design of the logo, most simple logos simply do not have the required level of creativity to be considered copyrightable. However, many ornate or artistic ones do.

And here lies the confusion with logos. Many of them actually qualify for both trademark and copyright protection. In fact, the entire Omega v. CostCo case hinges in part upon a logo stamped onto a watch being copyright protected (thus making the import of the watch a violation of the copyright).

In short though, if a logo would qualify for copyright protection as a piece of artwork separate from its use as a corporate identifier, it is copyright protected. Nothing in the law makes the two rights mutually exclusive so many logos can and are enforced using both trademark and copyright.

Which Protection to Use/Fear?

This means that, if you design a logo for yourself or your business, you actually may, if the logo qualifies, have two forms of intellectual property protection on it.

Trademark to prevent competitors and others from using it to cause confusion in the marketplace and copyright to prevent most other unwanted copying.

Which protection to rely is a case-by-case question depending on the actual use that you are trying to stop.

Trademark is, in many regards, easier to defend and protect than copyright, especially since there is no registration requirement in the U.S. to obtain a mark or sue for trademark infringement (though there are still many crucial benefits to registration).

That being said, there is also no notice-and-takedown system for trademarks and lawsuits or other trademark actions, such as domain name disputes, can be very expensive.

That being said, trademark’s narrow scope limits the situations it can be used to cases where the use is misleading or confusing customers.

Where copyright covers nearly all unauthorized copying that is not a fair use, trademark only applies to a small fraction of all potential uses.

That being said, when using an artistic logo, there are now two areas of law to be aware of.

Trademark is fairly easy to avoid, at least when using logos, as all you have to do is not pretend to have a relationship with the company that doesn’t exist.

However, with copyright issues of fair use begin to rise. In that regard, treat an artistic logo the same as you would any other photograph or painting and don’t make any use of it that you wouldn’t if it weren’t a logo. Using it with permission is best (many companies will actually provide logos for use on blogs and news sites) but barring that focusing on commentary and criticism while using as little of the work as possible helps stack the fair use case in your favor.

The good news, however, is that most blogs won’t really run into an issue, copyright or otherwise, with their use of logos.

Fan sites and sites dedicated to a specific company or product need to be careful, but since most logos aren’t copyright protected and the majority of use of logos in a blog environment are a probable fair use regardless, the odds of actual trouble are very slow.

You are much more likely to have a copyright dispute over a stock photo that you place in your blog than a logo.

That, in turn, is why I use logos a great deal on this site when talking about companies.

It’s an easy way to add relevant visuals to an article without trademark or copyright concerns.

Bottom Line?

In the end, logos are a strange area of intellectual property law where copyright and trademark often meet and overlap.

However, just because many logos, though not nearly all, have dual protection between copyright and trademark, that does not mean that businesses and others with logos can stop all uses of them.

Trademark’s limited scope doesn’t really add that much protection beyond the additional things it covers, namely non-copyrightable elements.

In short, while this area of the law can be very confusing, especially when faced with an unwanted use of your logo or a desire to use a logo, if it even qualifies for copyright protection, there really isn’t much need to treat it different than any other image.

Still, those who use logos or create them need to be aware of all the potential rights involved, both so they can steer clear of trouble and so they can enforce them correctly.

Yes!

Music is a business and like any business, there is a fee for services rendered.

There are no sure things in life.

Getting ahead in life is based on several things.

Your talent, your music your contacts and who you pay to work for you.

If you spend and invest your money the right way then your success will be according.

YES!
You can do it if you know what you are doing!

Meeting with top level, big city agencies on your own, results in expensive travel costs,

ending in a dead-end at the receptionist’s desk.

Without referrals, getting to see the top people is difficult.

To meet major labels, agencies, TV, Film, Theatrical, Commercial, and Reality shows, means you will need help to simplify the process.

Aside from your song and your image, your popularity is among the most important things that a record company is looking for.

Your popularity is a way for them to gauge how many songs will be sold.

It’s a great way to gauge and forecasts how many people like your music.

If your Fan base represents 10,000 fans then chances are 400,000 are going to buy your song because 10,000 people like your song.

This gives the record company a forecasting tool to estimate how many sales might happen when your music is considered as a signing investment.

When your manager presents these details and facts to a record label, then, that is when the negotiations really begin.

The recording artists business plan should be simple and very general.

Most artists start off with $10,000 in liquid funding.

Their catalog consists of their future potential that is usually $1 million per year.

The ability to obtain sponsorship, underwriting, investors, product placement, and more which will lead to $1 million gross for a recording artist who can pass the test of time. The strengths are the songs, the catalog, merchandising, product placement, and videos.

The weakness is the lack of funding to advertise.

The opportunity is regional, domestic, and international.

The threat is the absence of market saturation needed to expand quarterly.

The merchandising and branding of the artists will be the name, face, and likeness that will serve as the key elements in attracting investors, advertisers and funding. There is an entire support staff labeled support staff, which is the major overhead for any recording artist.

The growth of any artist grows by 18 percent per year.

The Marketing Plan is tantamount to selling music by every means necessary.

The Advertising Plan is to sell music by every means necessary.

Current audiences and demographics are but not limited to 18-60 who are captured by a good beat, meaningful lyrics and the images of what they see on TV and other multimedia outlets.

The COMPETITION will be but not limited to the top 10 artists on the charts at any given time.

Here are the strategies. Raise brand awareness:

– Increase the external communication with media outlets.

– Develop a distribution channel online and with retail outlets.

– Develop a new merchandising product based on each song.

– Get international distributors, booking agents, advertisers, promoters, and sponsors.

-Advertise on TV, radio, social media, the artists website, affiliate marketers, iTunes, amazon.com, Hulu, and Netflix are the tactics that will be used.

We have a lot of answers, as we know you have lots of questions.

The goal of this business plan is to get investors interested in the artist and their catalog.

YES YOU CAN!
You read books, you have a friend, you got an uncle, you heard you can do it yourself!

By the time you read books and get the practical understanding or experience, you should be 81 years old.

Do you want to get on stage and perform then?

Here are some books to read: All You Need to Know About the Music Business by Donald S. Passman. Artist Management for the Music Business by Paul Allen. This Business of Music: The Definitive Guide to the Business and… by M. William Krasilovsky, Sidney Shemel, John M Gross, Jonathan Feinstein. Music Marketing: Press, Promotion, Distribution, and Retail by Mike King. The Plain and Simple Guide to Music Publishing, 2nd Edition by Randall Wixen. What They’ll Never Tell You About the Music Business: The Myths… by Peter M. Thall. Music Law: How to Run Your Band’s Business by Richard Stim Attorney. Music Business Contract Library (Hal Leonard Music Pro Guides) by Greg Forest. Six-Figure Musician – How to Sell More Music, Get More People to… by David Hooper. Music Money and Success 7th Edition: The Insider’s Guide to Making… by Jeffrey Brabec, Todd Brabec. Start and Run Your Own Record Label, Third Edition by Daylle Deanna Schwartz. Musician’s Business & Legal Guide (4th Edition) by Mark Halloran Esquire. The Musician’s Guide to Licensing Music: How to Get Your Music into… by Darren Wilsey, Daylle Deanna Schwartz. Music Business Handbook and Career Guide by David Baskerville, Tim Baskerville.