The business of music is a whole different animal from when i began,” says Davis. She advises potential industry insiders to go to school and get a degree. “you have to know what you’re doing because the money is greater, the risks are greater, the audience is greater,” she explains. Davis also suggests being “voyeuristic-listen to every good conversation you can and listen to the bad ones and be able to differentiate between them. Although it can be hard for women to find positions in the music business, plus-size women don’t seem to find it especially difficult working in such an image conscious industry. “i don’t remember my weight ever getting in my way at any level,” recalls Davis. “i look in the mirror and see perfect because i don’t look from the outside, i look from within. I host my own stages-I’m the one who gets up in front of a thousand people and I’m the one who introduces the band. I’m the one who begs people to sign up on mailing lists and buy cds and support live music. So, if my weight was an issue, i don’t think i’d get up in front of people talking the way i do.
The business of music is a whole different animal from when i began,” says Davis. She advises potential industry insiders to go to school and get a degree. “you have to know what you’re doing because the money is greater, the risks are greater, the audience is greater,” she explains. Davis also suggests being “voyeuristic-listen to every good conversation you can and listen to the bad ones and be able to differentiate between them. Although it can be hard for women to find positions in the music business, plus-size women don’t seem to find it especially difficult working in such an image conscious industry. “i don’t remember my weight ever getting in my way at any level,” recalls Davis. “i look in the mirror and see perfect because i don’t look from the outside, i look from within. I host my own stages-I’m the one who gets up in front of a thousand people and I’m the one who introduces the band. I’m the one who begs people to sign up on mailing lists and buy cds and support live music. So, if my weight was an issue, i don’t think I’d get up in front of people talking the way i do.
The business of music is boring and uninteresting, and they tend to avoid such matters altogether. But i usually discover that those who can’t be bothered to learn the business end up becoming victims of unscrupulous sharks in the water. It is my firm opinion that if you are going to continue to write songs and if you hope to promote them beyond your own living room, you will eventually encounter these matters — either armed with knowledge or vulnerably nave. It is my hope that these articles will at least provide you with some basic information that will allow you to be taken seriously as a songwriter. Since it is my humble attempt to be “hip” in the way i approach the top ten questions, i will follow David letterman’s example and start from the bottom of the list and go up. Most of us begin writing songs simply because we can’t help ourselves.
The business of music is changing rapidly, and i think over the last year and a half I’ve learned more than i ever have, being from a digital standpoint, from a record standpoint, learning what the fan relationship means. Because for the longest time, the label and whomever else stood between the artist and the fan, which made it hard for the artist to get their direct point across. All you knew about the artist, really, was music, and the only way you could talk to them was basically through fan letters or things of that nature. Now you got twitter, you got facebook, stuff like that, so I’ve used a lot of that to my advantage, which was very instrumental in the success of this album.
“with the new bolt-on solution, rights flow has once again demonstrated an ability to move quickly to changes in the market, providing scalable back office licensing solutions. They provide an invaluable service to independent labels”. “it’s great that there is finally a service that makes it easier for non-u. The business of music is knowing what distribution points you can and can’t control. Concert tickets, t-shirts, limited edition releases, exclusive events…this is what you need to focus on. And the most important piece of information you can get from your fans is their email address. Don’t ask them to add you as a friend on myspace, become on fan on facebook, follow you on twitter. But get their email address because you control your own newsletter. Don’t become beholden to social media outlets as your main connection to your fanbase. This is your way to write directly to your fans about new tour dates, what’s happening in the studio, new merch, ways that fans can take an active roll in promoting your music. It’s interesting to see how the smart indie labels are operating in these times. They aren’t afraid to put download codes in their vinyl releases and give the consumers what they want. They look for ways to truly represent an artist’s vision especially if it’s outside of a simple cd release (see arcade fire’s mirror noir, phish’s joy box set or nine inch nails ultimate deluxe ghosts release). I’m not going to cry too many tears for the other record labels. Just ask any of the older artists who never receive their royalty checks or even the established artists that had to sue the labels to get accurate accounting (even though most settle out of court and continue with the same label).
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categories: copyright,performance rights,entertainment lawyer,music manager,producer,songwriter,music license,publishing,contracts,rap,country,jazz,rock,The business of music
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