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Hello
to you all!
Hope that you're entering the holiday season
in great spirits. I sure am. Busy writing 2
books at one time and trying to get other
things done as well. Thanks as usual for all
the great feedback for my newsletter. I'm
still amazed at how the word is spreading. I
get new subscribers every day, from all around
the country and the world. It's very
gratifying.
One thing that I must sadly announce. For
those of you who are always waiting for my
next seminar to attend, you'd better start
registering. I've made the decision that time
no longer allows me to market my private
seminars. I love doing them, but all the calls
and details I need to attend to are too
distracting to the bigger picture of my work.
So after the next two, I won't be doing them
like I have. I "might" do one a year
in February on how to start a record label,
but I'd say the chances now are 30/70. For two
months before each, my writing is disrupted by
calls for info and I must be around. My career
is escalating fast (thank you God!) and I can
no longer commit that kind of time. I will
however, still be available to speak for
others when I don't have to set it up. For
those of you near Charlotte, SC, I'll be doing
a full day seminar on starting a record label
on December 13th from 11:00 am to 6:00 pm at
Sterett Hall Rm. # 180, at the Old Charlotte
Naval Base. Hip hip artist Dana Dane will also
be there. Admission is $99. You can email Peterlo1028music@aol.com
for more details.
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.
I have some great interview in this issue,
with hip-hop artist, Tom Ferguson,
International Editor, Billboard and tips on
how to license songs for TV and films from
Jeanne DaSilva (Vault Music Services). If
you're looking to expand the scope of your
music, and you should be, these interviews
will be very helpful. Feel free to give me
feedback on what you'd like to see me cover in
future issues.
Revenge Productions
http://www.daylle.com
1. Ask & You Will Receive
2. Where For Art Thou Overseas?/Interview with
Tom Ferguson, International Editor, Billboard
3. My next seminars
4. The Powerful "E" Word: Embellish
5. Minding your music biz: Trademarking
6. Licensing Music: Interview with Jeanne
DaSilva (Vault Music Services)
7. Great Touring Resource
1. Ask & You Will Receive: Many of
you aren't comfortable asking for what you
need. If you want to succeed, get over it! I
used to be scared to ask for anything, and I
got nothing to show for it. I remember those
days well, yearning for many things but not
feeling worthy enough to go after them. Well
that's changed!! I'd never be where I am if I
hadn't accepted that the worst thing that
happens is a "no" response, which I
can handle. It's really okay if people say no.
As long as you're asking, you have the chance
that at least one will acquiesce. It's amazing
how much more comes when you get over the fear
of asking for what you need. Asking puts us in
a position of power; fear in a position of
lack. Which one would you prefer? Here's some
tips for asking with the best chance of
receiving:
*Don't ask apologetically: Why apologize when
you need something? That makes the person
expect you to ask for something they won't
want to give. Confidence makes a MUCH better
impression than apologies. Asking in a
positive way makes the person take more notice
of you as someone they might want to work
with.
*Be specific about what you need: We often
don't get what we want because we don't
clearly articulate our needs. Figure out
exactly what you need and put it out.
*Be polite: Manners and professionalism will
get you further. Thank people whether they can
help you or not. If they can't do something
now, they might be able to later. Let them
remember a courteous person, rather than
someone who resents their saying no. Please
and thank you go a long way in the music biz,
because so many people forget to use them.
*Expect to get what you need: Don't assume
people will say "no" or you won't
ask. Don't sabotage yourself by
second-guessing others. Raise your
expectations. Only asking for a little won't
get you a lot.
*Know you deserve what you're asking for: In
order to accomplish the rest, you should be
clear that it's okay for you to ask and
receive. Often our attitude reflects an
insecurity that makes us doubt whether we're
worthy of asking. On a spiritual level, we get
supported in what we put out. If it's doubt,
we get the rewards of doubt. If it's positive,
you'll be supported for getting a positive
response.
How do you think this former rapping
schoolteacher got as far as I did? I convinced
myself I was the bomb; then others believed
it. I faked it at first but now I totally
believe in me. That comes with practice. Begin
by asking for what you need, with conviction.
2. Where For Art Thou Overseas?: So
many people want to break into what they refer
to as the overseas market. They don't
understand that each country is unique in it's
musical tastes, distribution, and structures.
One thing I've learned is if you want your
music out in other countries, the artist must
be prepared to go there in person to market
it. And if you're really serious, you should
have a rep in that country. There's a market
from great songs with publishers in foreign
countries, and the royalties paid are much
higher than in the U.S.
One great place to do business is Midem http://www.midem.com,
the world famous international music
conference which takes place the last week of
January in Cannes, France. It's very expensive
so you'd need to have some great finished
tracks and a belief they could be marketed to
overseas companies. I'm going to Midem in
January - my first time. I'm doing it to write
about it in my next book, and I'll share in my
February newsletter. I'm willing to take the
music of up to 5 artists who have a good shot
at finding a home in foreign markets. I'm
charging nothing up front but will take a
finders fee if I get a deal that's accepted.
If you believe that you have music that I
should consider, please email me with details
about why you feel your music has a decent
chance of getting an overseas deal. DON'T send
any music or press kits. Just an email, with
no attachments. If I feel I should consider
your music, I'll get back to you. My time is
tighter than tight so I'll only respond to
people I'm interested in. I have people who
know the overseas markets who'll help me
decide. Please contact me ONLY if you have
studied overseas markets, or toured there, and
can tell me specific reasons why your music
would work, and what you're looking for.
I interviewed Tom Ferguson, International
Editor, Billboard about European markets, for
my new Start & Run Your Own Record Label
book. Here's a sample so you can get a feel
for what sells, and how.
What is the state of indie American artists
in European markets?
"It's impossible to generalize about 'indie
American artists' in Europe, unfortunately.
There's a long tradition of acts who couldn't
get arrested back in the states yet can sell
tickets and shift a decent number of albums in
Europe. Currently, acts mining the 'Americana'
seam are doing pretty well on the indie scene
in Europe - Lambchop, for example, can play
the Royal Albert Hall, in London, which holds
about 5,000 people. that's a helluva lot more
than they'd play to back home in Nashville. .
.The thing to bear in mind that Europe is such
a diverse group of markets, that what's
popular in the U.K., say, might go down like a
lead balloon in Germany or France."
How do European markets compare to the
American?
"Obviously, a lot of major American acts
are just as successful in Europe as they are
in the states, although certain styles of U.S
rock in particular just don't seem to travel.
The John Mellencamp school of 'mainstream'
roots rock, or the blander rock acts acts like
Matchbox Twenty and Dave Matthews just don't
seem to strike much of a chord in Europe. The
more mainstream country acts also don't tend
to do so well here, for example, but we do
like the real mavericks - Lyle Lovett or Steve
Earle can tour and pull sizeable crowds,
although their albums aren't likely to trouble
the upper echelons of the charts. And
obviously, a lot of hip-hop/rap won't play too
well in non-English language markets, unless
you're Eminem, of course."
What does an American artist need to
understand about the European market?
"That there's no such thing as 'the
European market.' Don't be fooled into
thinking that, because a number of European
countries now have a shared currency, it's
suddenly become one country. There are huge
differences in economics and culture - not to
mention language - between the individual
countries in Europe. Sometimes there are even
differences in culture and language within the
same country - like Belgium, for
example."
Can you give examples of specific countries
that are receptive to specific genres?
"There's been a swing towards pop music
in most European markets over the past couple
of years, but yeah, there's still a big market
for rock in Germany, and metal goes down well
in the Scandinavian markets. The U.K. is
probably the most 'trend' oriented market in
Europe, but it's currently heavily weighted in
favor of straight pop acts."
How important is it for an American act to
come to the European markets in person?
"It's vital. If a U.S. act isn't prepared
to show its face over here, to do press and to
tour, then forget it."
3. My next seminars: My next seminar is
Artist Development 101: How to Get a Record
Deal - or Do It Yourself, on Saturday,
November 22, 2003 from 11 am - 5:30 PM at The
New Yorker Hotel, on the NW corner of 34th
Street & Eighth Avenue. The seminar is $85
in advance or $105 at the door. http://www.daylle.com/seminar.html
Artist Development 101: How to Get a Record
Deal - or Do It Yourself complements my Start
& Run Your Own Record Label seminar. In
order to market your record effectively, you
must do artist development. This seminar
focuses on making money with your music.
Whether you're trying to get a record deal or
to succeed independently, your focus should be
on the different avenues for making money from
your music instead of wasting energy chasing
record deals. My goal is to empower musicians
on how to put themselves into a win/win
situation - being able to sustain a music
career on your own so you don't have to grab a
bad deal because you have nothing without one.
Empower yourself by taking this seminar. Then,
if you take a record deal, you'll already have
a career and more clout for getting good
terms. This seminar goes into details about
how to develop your artist, or you as an
artist, into a financial asset. I'll talk
about how to take touring to the next level
and the different opportunities for licensing
your music. My guest speakers will be people
who can help you find ways to make music your
day job. : ) There are 3 confirmed:
Audrey Arbeeny, Executive Producer AudioBrain.
She was a Senior Producer/On-site Music
Supervisor for 1996 Atlanta and 2000 Sydney
Olympic Games. Her company also places music
in TV, films, games, etc. and is developing a
sports music library. Audrey began as a
musician in a band and can speak from that
perspective.
Beth Krakower, Publicist, President CineMedia
Promotions and Chapter Manager for Film Music
Network will talk about how to get more
visibility for your music in order to attact
money making opportunities (see more below
under Music industry events)
Wallace Collins, Music Attorney, who'll teach
you how to protect your career.
The Start & Run Your Own Record Label
seminar is on Saturday, February 28, 2004. If
you register for both seminars at the same
time, you save $20.
4. The Powerful "E" Word -
Embellish: A synonym for embellish is
"adorn." Careers get started by
adorning them. I live by the concept of
embellishment. Give me a crumb to work with
and I'm make it seem like a whole loaf! I
don't consider embellishing to be lying. It's
milking what you do have to the max. For
example, when I began my record label, my dad
went to record stores in Miami and asked them
to take a few on consignment. Many took 2 or
3, probably to humor him. But I made a big
deal out of my records being in stores all
over Miami. That actually led me to DJs there
and eventually I did have a big market in the
south. It began with some illumination of the
truth. Embellishing is also truth with
omission. I advise people to leave out numbers
of how many CDs they sell and talk about the
markets it's out in, even if they've only sold
a few. It sounds better. If you play gigs with
few people, it still translates into a gig on
paper. The public doesn't have to know the
negative side of things that happen to you.
Whenever anyone asks how I'm doing, I give a
big enthusiastic "great!" And I am.
But I wasn't always great. When I first began
my label and didn't have distribution, I'd
always enthusiastically say my record was
selling when asked how it was doing. I'd sold
3 at the beginning but 3 meant it was selling.
When you get good press, use it as a cover
letter. Send it on top of your press kit or
release. The music biz is about hype. You can
create your own by taking what you have and
building it into something bigger by leaving
out some facts and using carefully crafted
words.
5. Minding your music biz: Trademarking
a name gives you protection against someone
else using it. Business names, logos and the
names of recording artists can all be
trademarked. If you have a name or logo which
you may want to use on merchandise (hats,
t-shirts, etc.), get it registered from the
get-go to protect against bootlegging when
your acts become well known. Federal
registration offers the best protection. It's
best to do a search to check that no one else
has trademarked your name because if it's
already trademarked, filing fees aren't
refunded. The U.S. Patent and Trademark Office
has libraries to do a search yourself, and now
you can also search on-line on their website.
Once you do a search, they'll still do their
own and determine whether you should get the
trademark. Check their site for information on
the ins and outs of trademarks. http://www.uspto.gov
6. Licensing Music - Interview with Jeanne
DaSilva (Vault Music Services): Jeanne has
a broad background in rights clearances and
negotiations, music supervision, catalog
promotion, and union contracting. I asked her
to share some of the wealth of knowledge that
she's gleaned as an industry pro for my next
book. Here's a sample of what she said:
What opportunities are available for indie
musicians?
"Independent films and television
provides real opportunities for artists to get
their songs out there. You may want to donate
your music to an independent film that's going
to a film festival."
How can a musician who does that protect
him/herself?
"Make sure you're limiting [the song's
usage] to just the film festival. [Otherwise,
what if the film gets picked up and makes a
lot of money? You get nothing.] The
independent artist could consider giving music
to an independent film going to festivals. At
a festival, the filmmaker is probably not
making money. You couldn't charge more than a
couple of hundred bucks. But if that film gets
picked up by a major studio and you don't get
the opportunity to make money, that's not
right. That's when you need to have a fair
deal."
How can someone break in?
"It's good to get involved with
organizations at a grassroots level - any film
festival organization, film production
organizations, independent feature project,
Women in Film and Television, film schools,
like NYU, places where people in film are
congregating. Go to where they are. You can go
to events or advertise to them."
How should a musician begin?
"One of the most important things to
understand before you approach anyone that
you're reaching out to for audio-visual
licensing is, be prepared. That means have
your publishing organized register with
ASCAP or BMI, get your songs registered, start
an independent publishing company so you
can take care of your business. Someone who
isn't organized is a little scary to work
with. In licensing everything needs to be
legal. Be clear about anything in your project
that you might not own. . . Be very straight
up about the ownership who owns what and
where to reach the owners. I've taken things
out of movies because I was
uncomfortable."
How can a musician be protected from being
ripped off?
"Don't give [the company] power of
attorney to make deals for you in your name.
If you sign up with a company that does audio
visual licensing read the fine print, have
an entertainment attorney review your
agreement, and if you can't understand what it
says, there's something wrong. Make sure the
company cannot do things without your
knowledge. I call my clients if someone wants
to use their song and they sign the paperwork.
Make sure that you have to sign any deal that
grants the right to use your song so you know
what it says."http://www.vaultmusic.com
7. Great Touring Resource: Book Your
Own Fucking Life has been around for MANY
years. It used to be sold in hard copy only.
Now it's a free website. There are many
resources, by state: venues, promoters, radio
stations, record stores, and much more. It's
run by and for musicians. People post their
info informally. If you have some spare time,
check it out. http://www.byofl.org
The guy who does the site wrote software
that's good for keeping track of a band's
booking schedule. It's free - a multi-user
scheduling program to keep track of shows and
rehearsals. http://www.hbltimetool.com
John Steinbeck said, "Ideas are like
rabbits. You get a couple and learn how to
handle them, and pretty soon you have a
dozen." Some people are good a getting
ideas but they keep thinking of more before
they figure out what to do with the other
ones. I was like that and it held me back for
years. Now I've learned to choose a few at a
time and figure out if they're worth
nurturing. If they are, I put my energy into
just them until I have some success. I always
do several at a time - which is how I ended up
with 2 book deals at a time. : ). But I could
have 20 great ideas if I went wild. I'd rather
go wild on making some ideas a reality. When
you have a good idea, write it down. List the
steps you'd have to take to make it real. Then
take the first one. That's how dreams come
true! I'm living in a constant dream of doing
so many things that I love. Please join me! :
)
Enjoy the holidays! If you have anything to
share, please send it. Until the next
issue.....
Keep your passion strong,
Daylle
© 2003 Revenge Productions
http://www.daylle.com
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