WHAT IS A MUSICIAN TO DO?

By Michael Manning

Years ago author Harvey Mackay wrote a best-selling book called "Beware the Naked Man Who Offers You His Shirt". In that spirit, one has to wonder how musical artists are surviving in today's commodity-driven economy. Now comes Edgar Bronfman, a venture capitalist (by the way that does not make him a bad guy) who has served as both Chief Operating Officer and CEO of the billion dollar Seagram's whiskey business, among other ventures. He has hired on Jim Griffin, a former Geffen Music recording industry executive to spearhead yet another business move to make CD's obsolete. Namely, by bundling a monthly fee into consumers' Internet-service bills for unlimited access to music. He touts this plan as an initiative to keep the wounded record labels afloat. His goal is to create a business model to return money to music artists and copyright holders alike. Even if Edgar is on the level (I've yet to meet him) I counter that he may as well purchase caskets and burial vaults for the music industry and in particular, musicians. Here's what I back my statement up with.

The recording industry has shrunk from a $15 billion business in 1998 to a $10 billion business in 2008 as CD sales plummet. Many of you may not recall the short-lived band that is a favorite of Bruce Springsteen, Jon Bon Jovi and others (myself included) called "The Raspberries". In just 3 years of their existence they had huge hits such as "Go All the Way", and the rock anthem "Overnight Sensation (big hit record)" before lead singer and guitarist Eric Carmen went solo in 1974 and and had two singles: "All By Myself" and "Never Gonna Fall in Love Again". He later penned and performed "Hungry Eyes" for the movie Dirty Dancing. When The Raspberries reunited in October, 2005 for a concert at The House of Blues on L.A.'s Sunset Boulevard, Eric Carmen was asked if the band would tour and record. He answered cautiously, "We have to be realistic". Eric pointed out that when the band hit it big in the 1970's, vinyl LP's were all the rage. He went on to question how viable it is for The Raspberries (or any music artist) to tour and record when the public can download their music for free? Granted, CD sales account for a small percentage of an artists' take. I'm always surprised at how my own favorite artists tour so vigorously. The sad truth is that after the show, those tents and tables you see with people hawking T-shirts, caps, koozies, coffee mugs and online memberships at $29.95 annually and higher is how musicians are making their money as they struggle to adapt to a "commodity-driven" economy. Witness a friend of mine who was with Sony/BMG Entertainment as a Pubic Relations professional. She was laid off and hired back as a "consultant". First, she's a smart girl who saved her money. Secondly, the bad news is that she is no longer among a staff of Public Relations colleagues. Those staff members are gone! She now provides her own health insurance and is in charge of getting 40 artists (including Norah Jones and Rod Stewart) airplay on FM stations. So, she talks to FM station Production Manager's (my old PM was on the "turnaround team" I headed up, so I know their job descriptions well). Listen to what Griffin recently had to say about U.S. record labels trying to stay in business.

"Today, it has become purely voluntary to pay for music. If I tell you to go listen to this band, you could pay, or you might not. It's pretty much up to you. So the music business has become a big tip jar" he said.

Eric Carmen was referring to the rise of what is called "peer to peer file-sharing networks". For years, digital-music listeners have argued for the right to make copyright law obsolete and free music distribution universal. In 2007 alone, the Recording Association of America, sent 5,400 threatening letters to students at more than 150 university's, and reached settlements with more than 2,300 of them. RAA also filed formal lawsuits against the 2,465 others, who blew off their letters and did not respond.

Griffin calls the industry's plight "Tarzan economics" and I quite agree. The industry needs a new business model. I don't think any musician disagrees with this as an obvious point. But what is the answer? Sony BMG Music Entertainment is trying to develop an online music subscription service that would give users unlimited access to its catalog. Apple is negotiating with major record labels to offer consumers free access to the entire iTunes library in exchange for paying a premium for Apple hardware. My view is one of skepticism that $5 a month can equate into a projected $20 billion annual take in exchange for the right to download, and burn CD copies free of restrictions? I don't see the feasibility in this kind of thinking. This isn't a business model; it sounds more like a weak prayer! In 1994, Aerosmith's "Head First" became the first song available on The Internet. My question is: With everyone I know who is a professional musician recording and marketing themselves exhaustively on Indie (Independent) labels, how will they become empowered to make a living? Think about it.

Printed with permission

MICHAEL MANNING
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How a Positive Indie Attitude will Advance Your Career

As a touring musician, you encounter a variety of situations that have the potential to disrupt your day's plans. The attitude with which you meet these daily challenges can influence your success or failure as you move through your career. There are plenty of obstacles thrown in your path. You may choose to approach them with a positive, "can do" attitude or a negative, "why me" attitude. The method you choose affects those around you and may even be partially responsible for getting or not getting some of the breaks you clearly think you deserve.

I'd like to examine some of the situations that may arise where your attitude may make a huge difference. I've worked with many artists over the years, as manager, agent, promoter and consultant. The one thing that stands outs about each performer above all else, is their attitude about their life, their music, and the manner in which they approach each day and every situation. Attitude can be infectious both positively and negatively. Be sure that when you leave a situation, your reputation of having an upbeat, positive attitude is one of the highlights.

Making Phone Calls As you book each date, the first place that your attitude plays a major role is in your phone conversation. Prepare for your phone sessions — don't just pounce on the phone with vengeance determined to book the whole tour. Get yourself in the right frame of mind, calm yet enthusiastic. If you are tired or are having a bad day, don't make booking calls. It is inappropriate to carry your personal problems to your phone conversations. This will not win you many friends nor land you many gigs. Booking calls are a sales pitch. Present a positive attitude and you are more likely to get a positive response. It is not always easy to maintain when phone call after phone call nets little more than "call me next week." When multiple calls become frustrating and you feel your upbeat attitude begin to fall, stop making calls and do some paper work, take a walk or practice, but change gears before you say something you'll regret.

The way you leave your last call with a promoter or club owner, is the way you will be remembered. If they had a pleasant conversation with you, they will welcome your next call, if not, it may be weeks before they answer your calls. Set yourself up for success.

Arriving at the Venue When you arrive at the venue, first impressions make a difference in how the rest of the gig will go. It's not unusual to hit traffic on your way to the venue or have various travel delays that can unnerve anyone. It isn't anyone's fault, so don't take it out on those that greet you at the venue. They have been anxiously awaiting your arrival and are probably looking forward to helping you settle in and assist in any way they are able. Check your attitude before opening the door and make sure the first thing out of your mouth is, "Great to meet you!" or some other pleasant greeting. You must set the tone for the rest of the event. If you want those at the venue to help you put on the best show you can, you need to set the stage and offer your winning attitude.

Dealing with Technicians Once settled, the next challenge is sound and light check. This task can be fraught with one obstacle after another, from inadequate equipment, the wrong equipment, inexperienced technicians and unhelpful technicians, not enough time and anxious stage personnel. If you want to accomplish an effective sound and light check, stay upbeat, be very clear about your needs, express them succinctly and be respectful of those who work at the venue. When you run into a technician with a bad attitude, there is nothing you can do or say to change the attitude except keep yours in check and remain pleasant. Step outside to blow off steam where no venue staff can see you, return refreshed and ready to work.

When it comes to setting your sound, you know your sound best. Be persistent with the engineer until you achieve the sound you like. Don't badger, just be clear and attempt to win them over. Sound is a particularly sticky issue for all artists, as it should be. This is certainly one area to maintain your cool if you want to have a good show. Unless you travel with own sound engineer, you are at the mercy of those at the board. This is one person you don not want to piss-off. Again, your attitude can make or break the show.

Dealing with the Promoter From time to time we all run into a club owner or promoter who is difficult. From the first phone call, it was clear that this gig would be a challenge simply because the promoter offered resistance. It didn't get any easier once you arrived at the venue. Again, you're not out to make any life changes in this person. You are determined to get through the gig, do your best show, fill the hall, win over the audience, sell your merchandise, and hopefully with all that in your favor you'll get paid the full amount agreed upon and perhaps you'll get another gig there in the future. Maintain your positive attitude throughout, in spite of the vibes coming at your from the promoter. Your goals are clear, ignore his distracting demeanor.

Dealing with the Audience When you are finally on stage, this is certainly not the place to air your problems, be unkind or disrespectful. These are the people you have worked so hard to stand before. This is the moment when your absolute best is tested. No matter what happened back stage, in the dressing room, on the phone before the show, in the car driving to the show or during sound check, if you display an ugly attitude here, you are done. These folks won't forget and they'll tell their friends. The audience deserves your highest regard.

After the Show After the show, you may be tired. The gig is not over though. You have an opportunity to win loyal fans and build solid support as you develop your career. Meet with fans and sign autographs. Set aside your fatigue for a little while longer. When you perform in venues other than clubs, you may be working with volunteers. If you are invited to meet the presenter and some of the workers who spent weeks preparing for this event, take the opportunity and you'll solidify a return gig. You don't have to accept invitations to parties you are not interested in attending, but a short meet and greet after the gig will go a long way to creating a good reputation. If you have to meet a travel schedule and are unable to stay for a meet and greet, let the venue personnel know that before you arrive so there will be no expectations for you to stay.

You can be a very talented musician, have a fabulous act, be a savvy businessperson, but if you sport a bad attitude, your successes will be hard won. Remain clear throughout all of your dealings with each venue and build respect for your group as a testament to your level of professionalism. Maintain a positive attitude during each situation to ensure that your good reputation will precede you and spark new successes.

Jeri Goldstein is the author of, How To Be Your Own Booking Agent The Musician's & Performing Artist's Guide To Successful Touring 2nd Edition UPDATED. She had been an agent and artist's manager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Jeri has released a 3-hour seminar on CD-ROM, Marketing Your Act. The Seminar is set up in 5 modules with information about Marketing, Creating Effective Promotional Materials, How To Access the Media, A Marketing Template and Niche Marketing. No expensive conferences to attend-learn at your convenience to boost your career. Her book, CD-ROM and information about her other programs are available at are available at Performingbiz.com or phone (434) 591-1335 or email Jeri.

*Repinted with permision

* If you would like to reprint this article, please contact Jeri Goldstein for permission.

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