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Daylle's News & Resources |
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Issue # 25 |
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Hello
to you all! I
hope that fall finds you pursuing your passions with a vengeance. This
is absolutely my favorite time of the year. I get fall fever as the days
get cooler and the air crisper. Having my birthday in September makes it
sweeter. : ) I had an amazing trip to Alaska this summer. I went hiking,
kayaking, canoeing and many other activities. I also flew in a teeny
plane 3 times. What an experience! You can read my trip blog at http://www.solochickalaska.blogspot.com/ I’ll post my pics soon. Thanks to those of you who attended my talk at the Apple store. Having such a big crowd that people were sitting on the floor and standing around the room was very gratifying. I hope to do more events there. I’ll be part of some great events over the next few months: --------- Please
forward this newsletter to your mailing list or anyone you'd like. If
this was forwarded to you and you'd like to subscribe, send me an email
that says "subscribe" in the subject header with your name and
city/state. If you'd like to post it on your site, please ask for
permission and I'll give it. Read past issues at http://www.daylle/monthly.html
If you prefer to be taken off my list, please say unsubscribe in the
subject header of an email. --------- My
other newsletter, Self-Empowerment Quarterly, for the body, mind and
spirit is also free. This
WON’T come to you automatically. If
you don’t receive it and would like to subscribe, please send an email
to subempowernews@daylle.com with you name, city/state. Read
back issues here ------- Please
visit my website, I Don't
Need A Record Deal to take advantage of the many resources for
developing a career in music. Also, please come and be my friend at
http://www.myspace.com/daylle I’d like to increase that number by a
lot. ------ In
this issue, I've got an interview with Dave
Cool, creator of the What
Is INDIE? film and one
with Christian indie artist Jilleen, who has found wonderful ways to
align herself with other artists to work together. I also two guest
writers. Sheena Metal, radio
host, producer, promoter and Jay
Flanzbaum, founder of
gigsonline.com. The rest
is written by me.
Please feel free to write with suggestions and questions that I can
include in future issues. Revenge Productions http://www.daylle.com ---------- 1.
Getting
the Most Out of Music Conferences 2.
What is INIDE? – interview with Dave Cool 3.
Daylle’s Seminar & Books 4.
Opening
Acts by Sheena Metal 5.
Interview with Christian indie artist Jilleen 6.
Minding Your Music Biz: Gig Contracts Part 1
---------- 1.
GETTING
THE MOST OUT OF MUSIC CONFERENCES:
Networking is critical for getting ahead. Conferences create good
opportunities for connecting with industry pros and other musicians and
also for learning more about the music industry. Having been to many
conferences, I’ve observed the different ways people handle
themselves. Professional networking is definitely an art that many
musicians haven’t learned. Make
the most of every conference you attend by arriving prepared. I’ve
seen many musicians lay down hundreds of dollars to register and then
wander around randomly trying to throw CDs at people. That’s not the
way to get your money’s worth! And it stymies me that so many
attendees are only there for the showcases and don’t take advantage of
the great learning opportunities by going to the panels. Here are some
tips for making the most of a music conference:
* Bring a pad and pen: This may seem
obvious, but having spoken for 15 years I’ve observed too often that
musicians don’t even have a pen, no less paper. Come prepared to take
notes! Write them down all good suggestions from speakers,. Don’t
scramble for paper and a pen when you hear something you want to
remember. If someone gives you a suggestion, write that down too. A pad
works best. Otherwise, you can come home with a pocket full of papers or
napkins with individual notes. It’s better to have it all in one
place.
* Bring a Smile. People respond much
better if you look friendly. I’ve talked to enough industry pros to
know that they’d rather work with people they like. Those of you who
know me know I smile most of the time. People remember me for that, and
in a positive light. I know it’s gotten me more support. Plus, smiling
makes you feel better. It stimulates your levels of serotonin, which
affects your mood. Smiling also enhances confidence.
* Bring business cards. When I ask
someone for their card and they ask for a piece of paper to write their
info, it makes a bad impression and says that you don’t think enough
of yourself to represent your profession properly. Postcards are nice
but a business card is easier to hold onto. If someone is interested in
keeping your contact info, a biz card can go into whatever they use to
hold cards. Postcard are often tossed. You’ll make an even better
impression with a nice biz card. People judge easily and some will think
you’re doing well if your card is impressive. Include your phone
number, email address and website.
* Be professional. Put out your hand
when introducing yourself for a professional connection. Shake hands
with a firm grip to make a good impression and show confidence. Be
professional in your approach to get taken more seriously and stand out
from those being pushy for attention. The individual may remember you
better when receiving something you send later.
* Talk to everyone you can. Being at
a music seminar offers great opportunities to meet people. Participants
wear name badges, so check out everyone. Don't be selective about
finding someone "important." Talk to people at the
exhibitions, showcases, and in the bathroom. If you want to attract even
more people, think of a good question or statement during a panel and
get up on the mic. Give your name and who you are. If possible, mention
what you're looking for. If you sound good, people will come to you
afterwards. I've met great people that way.
* Respect the wishes of industry
pros. If you meet someone you’d like a relationship with, ask what
they’d like. Should you follow up by phone or email? Send a package in
the mail or an online press kit? Don’t try to tell them what you’d
prefer. It won’t get you farther than ignored in the future.
* Talk more about them, not you. If
you’re determined to sell yourself, you may sell your opportunity
short by giving a long pitch without stopping for air. Instead, ask
questions and learn details about the person that might help you. What
kind of music does he thinks works best for his label? What kind of
artists does she like managing the most? What makes him book one band
over another? What kind of music can she get into films? Find out what
they like and look for in a person they work with. Then you can
determine if your or your music is a good fit and save time of pitching
the wrong person. Plus, people love to talk about themselves so
they’ll like you more if you ask lots of questions rather than
inundate them with tales of your music. They’ve heard that a million
times. If you can refer back to something they said in relation to your
own music, it’s a better connection.
* Don’t shove your music at
speakers. Usually when a panel ends, the audience gang-rushes the
speakers. It's hard to absorb anything. I’ve been a panelist and often
those people become a blur. Don’t throw demos at a panelist, even if
it's someone you want to reach badly. Be patient. When the crowd clears,
introduce yourself in a professional manner and ask for a business card.
Say you'll get in touch later. If you make a good impression, they might
remember you when you call. Ask if it's okay to send a demo next week.
It's better to send material later. Why risk it getting buried under all
the tapes dumped on the person? CDs are heavy and often don’t make it
back with the person.
* Don’t just chase industry pros.
Network with other musicians. Don’t ignore them in your search for
people you think have more clout. Meet as many musicians as you can.
They can be your best allies and give you resources that have worked for
them. Plus, creating camaraderie is extremely valuable to boosting your
morale. Musicians are the best one to inspire other musicians. To me, a
musical support system is a priceless commodity in this often tough biz.
As you’ll see in Jilleen’s interview below, musicians can be the
backbone of your career. Keep in touch with those you feel a good vibe
with. Learn from them and support them too! It’s a true blessing!
* Check for international showcases.
At larger conferences like SXSW, they have showcases with artists from
other countries. If you want to tour internationally, go to them and get
to know the musicians and their management. They can give you info and
contacts that can give you an edge to touring overseas. Offer them help
and they’ll help you.
Madalyn
Sklar
and Georgia Moncrief of GoGirlsMusic.com have created a small e-book
with tips for using Myspace to help your networking at conferences.
It’s only 6 bucks and you can order it at http://www.gogirlsmusic.com/ebook1.asp ---------- 2.
WHAT IS INDIE? Interview with Dave Cool:
Dave
Cool is the owner and manager of Montreal-based Stand Alone Records, a
label that focuses on promoting the independent music movement. He also
wrote, directed and produced the documentary film "What is INDIE?",
which explores what it really means to be an indie artist. I asked him
about it. What
made you decide to make the film?
It actually happened by accident. I'm a music guy and never
thought of making a film. But when someone asked what being indie meant,
I decided to ask some musician friends on camera what they thought. It
was supposed to be a short 10-minute thing for fun, but I soon realized
that we had touched on something that had never really been done before,
so we did a full-fledge documentary film. What
was your perception of INDIE music?
Before making the film I was convinced that I knew what being
INDIE meant. To me, it was all about avoiding the major label/corporate
system and starting your own label, like Ani DiFranco did with Righteous
Babe Records. What
was the most surprising thing you learned from your interviews?
That being INDIE isn't so cut-and-dry! It was after interviewing
Derek Sivers of CD Baby that the film really changed directions, as he
made a solid argument that you can be INDIE while signed to a major
label, which was completely unthinkable to me up to that point. But
since I had so much respect for Derek, I decided to explore it further
in subsequent interviews, and was surprised by the results. In
what ways did you relate to INDIE as you made your film?
I enjoyed the creative control and freedom of making the film
without any outside influence. I did things how I wanted, when I wanted.
But, on the flipside, I would've obviously loved a bigger budget than we
had, which I think is something a lot of INDIE artists can relate to! How
did you get it done without a large budget?
As with most projects like this, I think you just find ways to
get it done. We filmed everything on Mini-DV, which is high quality, but
inexpensive. We filmed mostly here in Montreal to cut down on travel
costs, and the filming was done by my good friend, Ian
"Steady-Hands" Graham, who happens to be a professional
cameraman. Tim Rideout, an artist in the film, did the editing at his
home studio. Both Ian and Tim worked for far less than they're worth
because they loved the project. I guess you could compare it to an
artist finding knowledgeable friends, who believe in their music, to
record a professional-quality album in their home studio. What can people get out of your film? The film seems to resonate especially with artists, as it shows that it doesn't matter what kind of music you play or what your background is, the experience of being INDIE – with all of its advantages and obstacles – is universal. It also seems to give artists a sense of hope and inspiration, showing that the industry is changing in ways that are benefiting them, and that they now have more power and control to forge their own careers than ever before. How
was the INDIE spirit expressed? One
of the most amazing things for me while making this film was meeting so
many people from different backgrounds who seemed to share a similar
sense of community and togetherness in indie music, and also the
determination and dedication that they all possessed. It was inspiring
and kept me going through many difficult times while trying to get the
film made. What's
your best advice for indie artists I always stress educating yourself
about the industry, running a business and the artists who are out there
making careers for themselves and how they're doing it. One thing I'm
most proud of in my DVD package is the special features which include
almost an hour of advice for indie artists from people like Daylle,
Derek Sivers, Panos Panay, Peter Spellman and many others in the film.
For years I've been looking to many of them to educate myself, so it was
humbling to capture on camera their best advice! Dave
has offered my subscribers a 20% discount on the price of the 2-Disc
package for the film by following this link: http://whatisindiemovie.com/discountstore.cfm
It’s normally 20 bucks but you can get it for $16 here. Besides the
documentary, it also includes interviews with many industry pros and a
soundtrack. It’s a very interesting film and has a lot of info in the
advice part. And I’m not just saying that because I’m in it! : ) ------ 3.
DAYLLE’S SEMINAR & BOOKS: For
one time only, on Saturday,
November 11th
I’m putting on a seminar that I’ve never done before - How
To Make Music Your Day Job. It
will be from 11:00 - 5:30 at the New Yorker Hotel at 481 Eighth Avenue
(NW corner of 34th Street). This full day workshop will cover a variety
of ways to create income streams that add up to a full time living from
music. An assortment of industry pros will give tips for reaching the
people who can use your music or your performance. ---------- My
latest book, I Don't Need a Record Deal! Your Survival Guide for the
Indie Music Revolution, continues to do really well! The focus is on
making money from musical talent. It guides you to creating as many
income streams as possible and has specifics on how to pursue the
variety of opportunities. It’s the only book I know of with so many
specifics on how to tour and license music in international markets.
People are surprised to find chapters on taking care of your physical
and mental health too. But part of surviving and thriving includes
taking good care of YOU. You
can order this book from me by sending $25 ($20 + $5 priority mail
return) in check or money order (made out to Daylle Schwartz) with your
name, address, and email address. My other books, The Real Deal: How to
Get Signed to a Record Label and Start & Run Your Own Record Label
are also available from me at the same price. Please specify if you want
it autographed. Send it to: Daylle Schwartz PO Box 8016, FDR Station New York, NY 10150 You can use a credit card here 4.
OPENING
ACTS:
Does Playing Before A Rock Star Make You One? by
Sheena Metal It’s
the dream of many a musician to open up for either their favorite band or
the favorite band of their childhood. For many, the ultimate in true rock
star status is to share a stage with the musicians who made you want to
play music in the first place…to see you name in lights (or printed on a
flyer, as the case may be) with the guys (or gals) whose music you listen
to almost as much as (if not more than) your own. But
is it really a good idea, as an unsigned artist, to open up for an act
already known to the general public?
Will you get anywhere near the recognition opening up for Pearl Jam
in a large venue that you would at a local club playing with other
unsigned bands? Will you fans
dig your music as hard as ever or will they forget all about you in a mad
frenzy to have Eddie Vedder sign their backs?
It’s
a double-edged sword that many artists forget to think over carefully
before rushing starry-eyed into the excitement of being the opening act
for: (Insert Name Of Famous Rock Star Here).
In many cases, venues and promoters still expect your crowd to turn
out and drink it up at shows, even though the headliner will draw a big
crowd of their own. Many of
these shows are an hour plus away from your local area and tickets can be
upwards of $100. Is that
something you can expect your friends will be up for?
And
then there’s the issue of press. Do you dare ask a reviewer to come out
and cover your show and expect that a large portion of your article
won’t be about how “Pearl Jam rocks!”
You score local radio play only to have the DJ announce the show
and play, “Alive.” Sometimes
opening up for a signed act can make an unsigned artist feel even more
invisible than usual. Here are some points to consider to help you weigh
the pros and cons of grabbing a spot as the opening act for a famous band: 1.
Would you take the show if you weren’t playing with pearl jam? Many
artists think that playing with a famous act is so important that they
don’t even bother to check out anything else about the gig.
Many assume that rock stars always command rock star stages, but
this is often not the case. Many
acts, especially classic rock/retro acts on revival tours, are looking to
get out and play anywhere that will put them up the right kind of front
money. Often times this means that the venues are in more remote
areas either looking to get on the musical map or using a well-known act
to entice people to drive in from far away.
Sometimes, the clubs are older rooms looking to get their groove
back or new places that haven’t yet acquired a regular crowd. Before booking anything, drive out and check out the venue on
a few different nights and make sure that you like the room, the stage,
the regulars, the area, etc. and ask yourselves if this is a venue that
would play if it wasn’t for the draw of the signed headliner. Since many of these shows can cost unsigned acts anywhere
from $200-$2000 in ticket guarantees, you want to make sure that your
getting your money’s worth musically. 2.
Would Pearl Jam’s fans listen to you if they caught you in your local
bar? For a lot of upcoming acts, the lure of playing in front of a crowd
of adoring fans is a huge plus. But,
you need to make sure to remember that just because people are coming to a
club doesn’t mean they plan to listen to you.
Sadly, often the followers of signed acts could care less about
unknown openers and will arrive right before the headliners set.
Sometimes, they sit in at the bar in another room praising their
favorite band while the openers play to their friends and the wall.
Worst case, many of them will rush the stage yelling, “Pearl Jam!
We want Pearl Jam” while you do your best to win them over
musically. This is why it’s
important to only open for signed acts that fit in the style of your
music. If you loved Pearl Jam
in high school but your band sounds like John Mayer, you might want to
think twice before deciding that their fans are automatically going to dig
your tunes. 3.
Find out all of the details before committing to a signed act show. It’s
fairly easy to book a local show: two to five unsigned acts, 20-45 minute
sets, all ages to 21 and up, $0 to $10 cover, sound check or line check,
maybe free parking, possibly some free drinks, sometimes backline gear,
occasionally free food, and pray for a decent sound man.
It’s all pretty much cut and dried and if your band has been
around awhile, you can confirm gigs in your sleep. Signed headlining acts
are a whole different animal and promising your crowd to a venue two hours
away, with a $40 cover charge where your band is playing a 15 minute set
with your gear scrunched up on the front of the stage so that the
headliner’s gear can remain set up might not be as easy as you think.
Your fans are used to seeing you rock the house, down the street from
their homes, where you play long, get an encore and the house buys
everyone a shot! Unless
they’re dying to see Pearl Jam, they might not be up for all of extra
energy it takes to see you open up for a famous act.
4.
You may not be signed but you can act like you are. If you decide to take
a gig opening up for a signed band and you want to impress them, their
crew, their reps, and the club’s management, then make sure you’re act
as professional as your headliner. Get
there early, have your gear organized, make sure everything is working
perfectly, load in at the speed of light, have your set list ready, be
courteous to the sound guy (gal), keep your set on time, and load off at
the speed of light. Most
importantly, have your merchandise in order and professionally displayed
at the club/arena: CDs, DVDs, t-shirts, bumper stickers, hats, condoms,
thongs…you name it. You
know you’re unsigned but the headliners’ fans don’t, so why
advertise it? Put on a
fantastic show and maybe you’ll sell some CDs, etc. and make some extra
cash. There’s
one more thing to consider here: fulfilling a dream.
If it’s your dream to open up for an act you love, then throw
caution to the wind and do it just for the dream.
If you lose money, hate the club, get booed by over-zealous
fans…who cares? For that
one set, you shared the stage with the band that put the dream in your
heart to get up on a stage in the first place.
Plus, it’s great bragging rights for your band.
You can throw it up on your website and talk about it to your
grandchildren. If you don’t mind the extra effort, commitment and
sometimes hassle, then go for it! Who
knows? Maybe they’ll pick
you up as the opener on their tour? Maybe
their label will see you and sign you?
Maybe Rolling Stone will come out to review them and mention your
name? If you’re doing it to fulfill the dream, then everything
else is a bonus. Just remember to get all of the details, and stay smart
when undertaking a huge gig. Now,
get up on that stage and wow that big crowd, you rock stars! ----------- Sheena
Metal is a radio host, producer, promoter, music supervisor, consultant,
columnist, journalist and musician. Her syndicated radio program, Music
Highway Radio, airs on over 700 affiliates to more than 126 million
listeners. Her musicians’ assistance program, Music Highway, boasts over
10,000 members. She currently promotes numerous live shows weekly in the
Los Angeles Area. Check her out! http://www.sheena-metal.com. ----------- 5.
INTERVIEW
WITH Jilleen: Jilleen has been an
independent Christian recording artist for over 10 years. She also does
speaking and is one of the founders of Christian D.I.V.A.s. Its members
are female Christian independent artists that support each other. I asked
her to share her thoughts and suggestions. How
did you get your own career started?
I have been singing ever since I was a young child and always knew
what I wanted to be when I grew up. However, since I was not signed to a
record label I did not know where to begin. After majoring in music in
college, I met a good friend named Junko, who was an independent Christian
artist who released her own CDS and toured regularly. This was back in
1994, when the idea of being an independent artist was not the norm. After
meeting Junko, I was inspired to start my own music career. Whenever I had
a question I asked her. I believe having a mentor who is willing and able
to help you develop your music career is very important and key to having
a long term successful career nowadays. What
motivated you and Leah Martensen to start Christian D.I.V.A.s?
Leah and I met at a World Vision Artist Associate retreat back in
2005. We instantly hit it off and learned that we had a lot in common.
Through our discussions, we discovered that we both shared similar
concerns with the music industry and specific online websites that pursued
independent artists. A lot of
the material we found online was for the beginning artist. We were in need
of a place that we could call "home" that supported specifically
the independent female Christian artist who was further along in their
career. What’s
the purpose? The Christian
D.I.V.A.s are Devoted to
teaching God’s love, being Inspired
and led by the Spirit, living Victoriously
through His Word and using our Artistic
gifts and talents ultimately for His kingdom. Christian D.I.V.A.s is a fun
and talented pool of ladies. We are a meaningful group of artists that you
can trust for all your event planning needs.
The purpose is to create a community of like minded independent female
Christian artists who support one another in their ministries and music
careers. We do this through our online discussion group, retreats and
special events. Can
anyone join? No. We have very specific membership guidelines. You
must be a Christian, a female performer, perform a minimum of 20 dates a
year, and have a professionally recorded CD and nice looking website. How
do the group shows help the individual artists?
Each year we put on a special event called The Christian D.I.V.A.s
Extravaganza. This past summer it was at a beautiful restaurant in Erie,
Michigan. This gave alot of the girls the opportunity to perform in an
area of the country they have never been in (like me!) and to personally
meet one another. The
opportunity to perform as a group was fun, but the individual
relationships that were built because of the event will last a lifetime. Why
would you recommend that indie artists unite for mutual interests?
From a Christian perspective, the Lord tells us in Ecclesiastes 4:
9-10, "Two are better than one, because they have a good return for
their work: If one falls down, his friend can help him up."
In general, creating a community of like minded artists provides
opportunities to meet new people, support one another in our endeavors and
share performance opportunities. Anything
else you want to share with my readers?
Artists should understand that relationships are very important in
succeeding as an independent artist. ----------- I
always emphasize the importance of developing good relationships with
other artists. Jilleen is
a perfect example of how
artists can work together for mutual benefit. Check out the Christian
D.I.V.A.s at http://christiandivas.net
to get ideas for forming your own alliance and Jileen at http://www.jilleen.com -----------
6.
MINDING YOUR MUSIC BIZ –
Gig
Contracts (Part 1) – by Jay Flanzbaum Many
an agreement has been made based on a phone call and a virtual handshake,
but if you want to live without headaches, I suggest you get in the habit
of sending a written agreement for every gig. The
story usually goes like this: you sent the CD in January, to finally book
a gig in April for this upcoming August. It’s just a Tuesday night for
100% of the door, a place to stay and some food, but it’s a much-needed
stopover between Colorado and Nevada. You call a week before the gig from
somewhere in Texas and the club has never heard of you. What’s worse,
there is another band booked on that night and the other band has a
confirmed written agreement. For
gigs that are low to no-dough deals, you should still send a written
agreement. Email is the easiest method because you can easily send the
same message over and over until you get confirmation. Faxing is also
relatively easy but having to send a snail mail agreement more than once
can be a hassle. Your goal here is to constantly remind the talent buyer
of your agreement and put all of the details in one place. The higher the
dollar value on the agreement the more diligent you should be on insisting
on a signed copy. ----------- I
will continue this series on contracts in the next issue and include more
info on gig contracts. 7.
ASK DAYLLE: I met a manager when he
heard me at a club and he expressed interest in repping me. I sent him a
press kit and followed up a week later but he didn’t return my call. Now
I’ve left him a lot of messages and still nothing. Should I keep trying?
Why do people say they’re interested and then ignore you? The
short answer is, “That’s life!” But life is like that because all people have issues going on that you probably don’t know about. Things come up. Personal problems arise. And the bottom line is, while you’re putting so many hopes on the manager, chances are you’re not important to him. If he’s interested, he knows how to reach you. Hounding him won’t help. He may not have liked your press kit or was told that he can’t sign any new acts for a while and won’t call to let you know that. Or he’s just busy. Focus on doing what you can to develop your career instead of chasing someone who’s not responding. You may still hear from him down the line when he’s ready. Accept that no ONE person is that important. ----------- President
Harry Truman said, “A
pessimist is one who makes difficulties of his opportunities and an
optimist is one who makes opportunities of his difficulties.” Which one
are you? Is your glass half empty or half full? When you focus on what’s
going wrong instead of what’s going right, you become your own
roadblock. It puts you into a bad mood and you begin to expect things to
go wrong. It’s
so much more rewarding, and a lot less stressful, to focus on making the
most of your circumstances. I know it can be hard. I recently talked to a
musician who traveled hours to a gig and there was a mix-up. The club
manager forgot to put him in the book and wouldn’t let him play. Most
people would moan about how life sucks. Or feel like they’d just been
dealt a blow. Not this guy! He found a spot in public with a lot of people
going by and sang. Singing
in public is legal if you don’t use an amp, block a doorway, or create a
noise ordinance. He played his guitar and sang his heart out, with his
guitar case open and a mailing list in front for people to sign onto. He
left with more names than he usually got at a club, sold CDs, and had a
case full of dollars. We all have choices – let the bad stuff play out
and ruin your situation or create a new situation out of difficulties.
It’s your choice! Until
the next issue..... Keep
your passion strong, Daylle ©
2006 Revenge Productions http://www.daylle.com
http://www.idontneedarecorddeal.com/
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