I bet the average studio or TV show spends more on a pair of shoes for an actor in a scene than they do on music for that same scene.

Now, if they license a hit song, of course, this isn’t true.

But the price many TV shows and studios will pay for a song by an unknown indie artist can be as low as $500.

And I bet the shoes for that actor cost about that, if not more.

It is sad but instead of getting angry at a small guy or company (ahem), how come artists never direct their anger at who really HAS the money: the studios and TV networks?

Now, don’t get me wrong, it’s not the TV producers or movie directors who set the music budgets. It’s the TV networks and studios themselves.

Oh, but they want to help artists with “exposure.”

Bull$hit.

They care about their bottom line.

In fact, I know that one of the major TV networks sits around in meetings bragging about how they save “hundreds of thousands of dollars” by not hiring music supervisors for certain TV shows and by starting their own label and publishing company. Do you think they really start a label or publishing company to “help” artists? No, it’s to help themselves.

So, the next time you get angry at someone, get angry at someone that deserves it.

Sure, we shouldn’t bite the hand that feeds us. But that hand is barely giving indie artists a grain of sand these days.

The same TV network that crys “poor” when it comes to their music budget will somehow, magically, pony up a LOT of money when they REALLY want a song. But for you? Meh. $500. Maybe $1000 or $1500 if you are lucky….

Stand up and don’t let them offer you peanuts for your music. Just say no!

Someone should start a campaign to gather artists together to fight for fair pay for their work, don’t you think?

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission from the author. Thanks!)

Copyright @2012. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

****

“Oh man do I hear this every day!

I think a big part of it is – I swear – that artists more than anyone have Cinderella syndrome.

‘I am going to get all dressed up for the ball (record music) and I am going to be so resplendent in my finery (my musical genius) that Prince Charming (A&R guy) is going to shower me with jewels and happily ever after (cash and a 3 album deal).’

Yeah sure! And A&R guy is going to ignore all those other bands and artists that have pooled their funds, work extra gigs and jobs to pay for marketing, found sponsors, got savvy about the business in general and really committed to it.

The answer I often hear is that a great artist shouldn’t have to pay their way in.

My answer is: it’s a competition, and you aren’t even at the starting line.

My other answer is, my friend is a genius at math, but he was still required to go to college, write and prove his theories, compete, and work his way up the academia food chain before he received a professorship. The nerve! It should have just been handed to him on a platter because he’s a genius. Right? 

Oh right. I forgot. The music business is different. It’s the one that hands out millions to untested and untried talent based on a gut feeling and the flawless aural training of its execs. 

Uh huh. 

And Lana Turner was discovered at Schwabs and Van Halen was discovered in a bowling alley in the valley. 

Legendary tales that keep us fantasy lovers buying movie and concert tickets – which is fine as long as you leave the fantasy at the door when you are pursuing a career and stop expecting handouts and miracles.

It takes work and knowledge and work and connections and work and determination and work to make it in this business – just like any other. And when you are starting a business, you have to invest both time and money into it.

Times ARE tough right now so really, I don’t expect jobless people to fork over thousands in promotions they don’t have, but to drop the less expensive opportunities like what Jen offers is patently ridiculous. It’s what she offers that makes an artist savvy and aware of what they should be working toward so they can prioritize and make goals, so later, when times aren’t so tough, an artist can put their hard earned promotional dollars into the right hands.

Nothing worthwhile is free. Really.”

-Leanne

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission from the author. Thanks!)

Copyright @2012. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

Surprisingly, not much has changed in 6 years. Sure, Indie 103 is gone (sadly) and MySpace isn’t the hot site it once was and you can replace the word “iPod” with “iPhone”…but otherwise much of what I wrote is still true…and maybe even more so now…

Jennifer

***

Inspiration For The New Year

(This is a long one, folks – but well worth reading!)

When you hear the legendary manager (and artist) Peter Asher say “It’s harder than EVER to break a band” it almost gives you a sense of relief, doesn’t it? (Well, it does for me.)

Why? Because it’s not easy out there. For anyone.

Take that from someone who started out as head of A&R for the Beatles’ label, Apple Records.

Asher goes on to say “You can’t rely on radio or a label right now. And as a manager, you have to have an act you can’t live without.

Advice for artists? “It’s hard right now. You just have to go out there and win over one fan at a time.”

Andy Gould’s famous line is “Never work harder than your act. They should want it more than anyone.” He talks about how he sees young managers busting their butt for a client and the band just doesn’t really care. It also surprised me to discover that someone like Rob Zombie calls his manager 7-8 times a day and despite his rather rough image, is incredibly professional – doesn’t drink, take drugs, etc. He is an incredibly driven and serious businessman.

Anyhow, here are some gems of inspiration, and general advice, that I’ve come up with to kick off 2006.

1. Believe in yourself

Imogen Heap mortgaged her flat to promote her music. And it paid off.

So, sometimes you really do have to do it yourself, and REALLY believe in yourself, to make things happen.

She put her own money behind her. Do you believe in yourself enough to do that? If not, there probably is something wrong. After all, if you don’t believe in yourself, how can you expect anyone else (a manager, a label, an agent) to put their time and money and resources into you if you don’t do it for yourself?

Now, please don’t run out there and mortgage your house after reading this. The sentiment is what’s important.

After all, every label turned down the Beatles. Yes, the Beatles. Arguably the most important and influential band of all time. So, don’t EVER feel sorry for yourself. If the Beatles were rejected, well, in my opinion, that just proves that people (especially labels) don’t know what they’re talking about.

2. Make great music

Pretty much self explanatory. Always push the boundaries of your creativity. Write and rewrite songs. Rewrite lyrics that are trite, and change words that will make your song better. Co-write with your band or other songwriters. Challenge yourself and make yourself better.

I see so many indie rock acts succeeding because they are doing something different; something fun and original. Break out of your mold if you’ve been writing the exact same type of song….i.e. the same ballad or rock tune. Experiment. Try something new. If the song sucks, you can always toss it. Try something unique and original. So many acts have become popular because they did something refreshing and “out of the box”. If I had a nickel for every time a person asked me for something like the White Stripes….

3. Learn to live with rejection

I also read a great interview with a famous manager who said “If you can’t take rejection, don’t get into the music business. Don’t even make music.”

Wow, that’s pretty harsh.

Or is it?

As an artist, you’re going to get turned down time and time again. Maybe by a club booker. Maybe by a promoter. Maybe by a manager or agent or label or music supervisor.

The key is to not take it personally.

When Green Day was starting out, Billy Joe Armstrong talks about how hard it was for them to simply book one show. Just one show. And I’m betting you’re quite past that point. Just remember. Everyone had to start somewhere and even superstar acts were once in your shoes.

I have to say, I’m amazed and inspired by how professional so many of you on my list are. I may say a song isn’t right for a project, or the vocals are off key, and I’m rarely met with much resistance. To take constructive criticism well is not easy on the ego. So give yourself a pat on the back. It’s not easy to get turned down time and time again and keep going. But if you believe in yourself, and believe in your music, it’s all worthwhile. And one day, that “no” will turn into a “yes.”

Of course, you should also remind yourself that if someone doesn’t like your music, that doesn’t mean you should take it personally. While your music may be a large part of who you are (or sometimes feel like ALL of who you are), you must learn to separate the rejection of your music, with the rejection of you as a person. They are two completely different things. I reject songs all the time. Not because I don’t like them but because they just don’t fit the needs of the particular project I’m working on.

But, what if you send out 100 CDs and don’t get one single response? Or make a 100 phone calls and don’t get any interest? Then, you have to ask yourself if you’re doing something wrong. Maybe your songs need more work. Maybe you need to take vocal lessons. Maybe you need to try a different approach. Because if something isn’t working, you need to try something else. But if you’re getting positive feedback – from a manager, a label, a fan, anyone besides your friends and family, then you’re probably on the right track and just need to keep at it!

4. The time for indies and self releases is now

Spin magazine recently listed their top 40 albums of the year. Half of the albums were released on indie labels and two were completely self-released – without any label whatsoever!

And, of the remaining 20 “major label acts,” at least half of them were through imprints or divisions of major labels. I saw very few major label artists and bands on that list.

The music business may have never been in such a crisis before but then again, there has never been a more amazing time for artists to make their own careers, on their own terms, without relying on a major label who will rarely have their best interest at heart.

5. Sometimes things have to get worse before they get better

I recently had a good conversation with a manager friend of mine. We were both talking about how frustrated we’ve become with the inability of major labels to recognize (let alone sign) great talent. It used to be that major labels weren’t developing the talent they signed. Now they just aren’t signing much period. And we’ve both licensed a million songs and gotten our bands amazing airplay on major radio stations around the country. Yet it still hasn’t been enough to “break” a band. So, what do we do? Give up?

I say, try harder.

CD sales are down. The touring business is going through problems as well (a lack of future “stadium” acts and rising ticket prices). And everyone knows that commercial radio sucks.

But, on the bright side, there are great resources out there. iTunes. Satellite radio. Public radio stations and in Los Angeles, stations like Indie 103. Then there are podcasts. And blogs. MySpace and the Internet. Take advantage of all the great inventions that are out there. People will always love and support music.

The music business is going through some tough times right now. But yet iPods are selling at record numbers. People are still thirsty for great music.

The future of making money from CD sales? That I don’t know. CD sales are declining so rapidly that everyone seems to be looking to get out of the music business these days. Jumping ship as the Titanic sinks.

Will it all go digital? Will the CD go the way of the 8 track or cassette or LP? Probably. But no one knows what’s going to happen.

Will there one day be T-Mobile or Starbucks or “Banana Republic” Records? Maybe. Or will the future label share in an artist’s merchandise, touring, publishing and digital music sales? (Or will everyone give up making music to stay home and play videogames? Just kidding.)

Whatever the future may bring, just know that things will eventually get better. And great music will always find an audience, fans and support. It just may take a radical new approach. And you may have to work harder than you ever have before to get out there and get exposure for your music. No one said this is an “easy” business.

6. Don’t give up

I can’t drive this point home enough. Sure, if you rather work a 9-5 job then do that. I hope you have a job you love. But for me, this is the only thing I’m good at and the only thing in life that I enjoy. I have no choice but to be successful. I refuse to give up. It’s just part of my personality – that never ending drive. And some people have it and some don’t.

And if you do have a day job, that’s great. There is a lot to be said for stability and being able to pay your rent or mortgage each month. Music is not an easy industry to make money in. In fact, it’s probably one of the most difficult, right behind acting and writing screenplays I’d say. If you want an “easy” life, it would be far easier (in my opinion) to go to medical school or become a lawyer. Because after a certain number of years of education, you have a specific skill and can get a job.

In music, there is no direct correlation between education (or even work) and results. It’s art, and sometimes the music connects with people, sometimes it doesn’t. And when it does, it’s still never easy.

Just know that music doesn’t have to be your full-time gig. You can still pursue it as a hobby, play shows because you love to, not because you need the money to survive. And with the pressure off, sometimes that makes the music even better! No one says you have to strive to be on MTV.

For others, doing music part-time isn’t an option. If you really want to make it in the business and have your band break through, you can’t do it half ass. You just can’t.

Watch VH1′s “Behind the Music”. I guarantee you, there is not one single artist or band out there who said, “I don’t care if I make it or not” and went on to become a multi-platinum act.

Madonna is a perfect example. She’ll be the first to admit that she isn’t the best singer, she isn’t the best dancer, she isn’t the best anything really. She became successful because she had an incredible amount of drive and determination. And yes, some talent factors in there but the drive, the willingness to go the distance, no matter what obstacles are put before you, that is what makes someone a winner. “Winners never quit and quitters never win.” Trite but true. And the harder you work, the more “luck” you create for yourself.

So if you’re the type of person who’ll venture to a new city with just spare change in your pocket, well, maybe you picked the right business after all.

7. Have an image

In PR there is the expression, “There is no such thing as bad press.”

Along those lines, I would argue that it’s better to have some image, even if it’s a bad image, than no image at all.

Every successful artist or band has an image. Some are contrived, some are their own. But they all exist.

Compare photos of U2 to Green Day to Coldplay to Weezer to Carrie Underwood to Metallica to Jewel to Shania Twain to 50 Cent to My Chemical Romance.

Anyone can get up there and play a show in jeans and t-shirt. But that’s really the equivalent of eating meatloaf every night for dinner. It’s boring! And who wants that? After all, if you went to see your favorite artist perform and they were wearing exactly what you were wearing, wouldn’t that be boring?

As a performer, your goal is to connect with your audience. And tap into something special.

Watch old concert footage of Bowie and wow – what amazing costumes and hair he had! Not to mention his stage persona.

Tap into something special. That’s why Christian groups have such a huge, devoted following. They’ve tapped into that one thing they have in common with their fans – God and religion.

It’s why artists like Morrissey, The Cure and Depeche Mode had so many fans in the 80s – and still have a following today. They had songs, and an image, that kids could relate to. Feeling isolated or lonely. Being the outcast. And who hasn’t felt that way at one time or another? There are entire cultures that revolve around music like this and today’s examples are bands like My Chemical Romance. The goth image works.

And sure, you remember high school when you could almost figure out which kid in which clique liked which band. In my high school, for example, the smokers out back who wore all black, leather and chains liked punk rock like the Clash and Sex Pistols. Surprise surprise. And the stoners liked the Grateful Dead and Phish. And the “popular” kids liked U2. (Well, everyone liked U2…)

Whatever it may be, know that record companies hire stylists and TEAMS of fashion experts to remake and market their artists (hair, make-up, clothes). Labels are EXPERTS at marketing their artists and in making the general public believe that stars are born and not made. My God, I’ve worked at labels and heard the head of RADIO PROMOTION (?) lamenting over the artist’s shoes. Yes, the radio promotion guy caring about the artist’s SHOES! So, if major labels are overthinking a band’s image, you probably aren’t thinking about it enough.

And if you’re not into style and fashion (I certainly am not), find someone who is. Your wife, boyfriend, sister, next door neighbor or best friend. Have them take you shopping.

Image, in my opinion, should just be an exaggerated version of yourself. There is a reason why most artists wear “stage clothes” and are extremely confident on stage; then off stage, can be humble and shy.

Have you ever found the perfect jacket or shirt that makes you feel great? So great that you walk around all day with your head held high, saying to yourself “I feel good?” Of course you do. Well, find that item, wear it on stage and project confidence and an image that your fans can relate to.

Everyone has their signature item. Look at Bono and his sunglasses. Or the number of artists that use hats as part of their image – Elton John, Fall Out Boy, Gavin DeGraw, to name just a few. Don’t even get me started on make-up and outfits used by artists like Marilyn Manson and KISS.

Eyeliner? Just about every punk rock band. Look at the Killers and their image.

Suits? Look at the Beatles, The Click Five, The Killers, etc.

I remember having a conversation with someone who worked with John Mayer when he was starting out. And I said, “but John Mayer doesn’t have an image. He just wears jeans and looks like your average J Crew / college guy.” The reply was “those are $200 jeans and that image is VERY carefully put together and thought out.” So, if even John flipping Mayer has an IMAGE that is “put together” or contrived (look at him), then my God, so should you!

8. Make your live show AMAZING

Here are some tips for great live shows. Watch others bands. Go to concerts. Huge acts and smaller, indie bands. Take notes. What worked? What didn’t? When did the audience lose interest? How could those bands have done a better job?

When you are starting out, you don’t have the benefit of just playing through a set list of hit song after hit song after hit song. You don’t have the amazing lights, pyrotechnics, bells and whistles that accompany an arena show – the way U2 or Green Day does. So, you better make sure your show is AMAZING.

Engage the crowd. Talk to them. Let your personality and charisma shine through. Be fun, lively, honest. Tell them an embarrassing or funny story.

Think of it this way. TV is a passive medium. It can be entertaining if the show is AMAZING. But video games are interactive. Do you want your live show to be like a TV sitcom? Sorta entertaining but lacking any real originality or interactivity? Or do you want your live show to be like your favorite video game? Where you interact with the other side?

If you’re always behind your guitar, put it down for one song (or a few) and just sing to the audience. Move around the stage. Better yet, run around the stage. Jump. Jump into the crowd.

If you’re in a rock band (especially a guitarist), you better be jumping up and down, and running around the stage, bouncing off walls. You should come off stage at the end of every show dripping with sweat. If not, you’re doing something wrong and you’re probably not entertaining your audience.

And if you’re a singer/songwriter, you better be the most funny, engaging and entertaining storyteller out there. Don’t just play song after song. Open up. Let your great personality shine through. Let your audience get to know you. Then you’ll really connect — and sell some CDs too!

I know, you want to squeeze in as many of your songs into your short set time as possible. But believe me, you’d be better off playing one less song and using that time between every song to talk to the crowd and engage them.

A friend recently took me to see Jewel. Now, she’s not my favorite performer (although I appreciate her voice and talent) but I went to the show despite the fact that I’m not a Jewel “fan.” Why? She is the most entertaining performer. She’ll launch into a 20 minute story about how she was in Mexico with the feds and they were on a drug bust when she wrote “You Were Meant For Me” and it’s just fascinating. Chalk that up to years and years and years of touring with just her and a guitar. She was incredibly entertaining and engaging. I almost forgot she had to sing some songs between her stories!

As a performer, whether you’re the singer, drummer, bass player or lead guitarist, I don’t care, your # 1 job is to entertain the crowd. Remember, people pay money to come to a concert (yours or anyone else’s) to be ENTERTAINED, not just hear you sing your songs. When you reach stadiums, you can just stand there in front of the pretty lights and play your guitar or keyboards and not move around too much (and most huge stars don’t just stand there, now do they?) But you aren’t there yet. If you’re on stage, you are a form of entertainment, like it or not. And people can spend their money SO many different ways now – on iPods, movies, eating out, video games, at amusement parks, going to other concerts, museums, watching TV (ok, that’s free but I think you get the point….) If you want people to pay and come see you live (and keep coming back), you better give them a reason to!

I know of one popular artist who has his whole routine and banter down. If the show isn’t going well, he’ll launch into that funny story about his dog. Every time. Same exact story. Told the same exact way. And guess what? It works. Every time. Comedians use the same jokes and routine for YEARS. Why? Because they work. There is a reason why actors practice in front of a mirror. And a reason why sometimes you need to rehearse and find out what stories work and what stories bomb. And use the ones that work.

Videotape every live show you do. Watch every one. It may be uncomfortable at first, but it’s the only way you’re going to get any better. Be objective. Pretend you’re in the audience at this show. Would you be bored? Or blown away?

Every “major label” artist I’ve ever seen in concert, especially close up, seems to have the ability to look out into the audience and make me feel like they are looking directly at me. (Ok, so maybe not if I’m in the nose-bleed seats at the Staples Center but I digress.) I’m not sure what the trick to that is but don’t be afraid to look directly into the crowd. If you’re shy, a performer once told me a trick – look at the top of people’s heads in the crowd – it will look like you’re looking at them when you’re not! Looking right at your fans at smaller shows might be intimidating at first, but try it. They won’t bite. Don’t stare at people. But don’t be afraid to look directly into people’s eyes. Music is more than just the words and music. It’s about emotion and connecting with people. If you can do that, you’re golden.

Want to be a great live performer? Watch Queen’s Freddie Mercury. Mercury’s command of the stage and confidence is amazing. In fact, watch any of your favorite artists perform in concert or on DVD. You should be able to turn off the sound and still be entertained. Can you say that about your live show? If not, you have work to do.

I once asked the engineer at a showcasing venue here in LA what she noticed about bands that came in and got record deals vs. those that didn’t. She replied “confidence.” If they were cocky, if they believed in themselves, so did the label. And they were signed. If the act was not confident, the label had doubts and didn’t sign them.

Now, this doesn’t mean you have to develop a huge ego tomorrow to get signed or become more successful. “Fake it til you make it.” Just project confidence, even if you have to act a bit at first.

I, for one, have never been fond of getting up in front of large crowds. But, I once had a job that forced me to do that. And after a few times, I got better and better at it. And sure, I may still get nervous in front of crowds. But the more times you do it, the easier it becomes and the better you’ll get.

Another successful record producer once told me the great performers he knew had the ability to separate their stage persona from their real self. Hence, the stage clothes. The minute you step on that stage, you might need to become a different person. The way an actor steps into a role when they are on a movie set.

After all, you wouldn’t go audition for the part of John Lennon in your street clothes, would you? You’d dress the part! Then “pretending” or acting the part of Lennon would be a hell of a lot easier, wouldn’t it?

9. Have fun…but remember that it’s the MUSIC BUSINESS and hard work

Nothing makes for a better show or better music than a relaxed atmosphere. And while I may say “work work work” harder than you ever have before, it’s also important to have fun. On stage. In the studio. When you’re writing songs.

After all, that’s why you got into the business, right? To play shows, to be creative. Maybe even to have groupies and have a good time!

So, take it all seriously. It is the music BUSINESS after all.

But if it ever stops being fun, you should stop immediately. Life is too short to do something you don’t enjoy.

Just remember, to succeed, it’s going to take A LOT of hard work. More work than you ever put into high school, college or any job you’ve ever had. Why? Because everyone wants to make their living making music. It’s the best job in the world. And you have to work harder than everyone else out there doing this and hard enough to get better than everyone else. And become the shrewdest business person as well as the most talented songwriter and most engaging performer. It may not always be easy…but it beats working at the Gap, doesn’t it?

10. Be nice to everyone / karma

This is a very small community. It amazes me that the same A&R executives I was calling and inviting out to shows a few years ago are now asking me to pitch their bands or client’s music or are now looking for a job.

It reminds me of a story I read in the Los Angeles Times. This man found a mouse in his house and promptly decided to “teach it a lesson” and threw it into a pile of burning leaves. Animal rights activists notwithstanding, the mouse (now on fire), promptly ran back into the house and burned it down. A sad story but if that isn’t the most perfect example of karma and “what goes around, comes around” I don’t know what is.

I always return every phone call and try to respond to every email I’m sent. Because, you never know. My first intern is now working at a successful indie label. One day he may be running Universal Music Group and may hire ME to work for HIM. And that happens all the time. In the music business, and life in general.

So, ALWAYS be professional, always be nice, never screw anyone over. Never burn bridges. Believe me, it will come back to haunt you tenfold if you do.

An artist once did a number on me. I ran into one of his bandmates years later and asked him “Hey, what’s Kevin up to?” His reply was “er, nothing”. He had given up on music, had to move back home to Wisconsin and was doing something else entirely. Maybe if he’d been a little nicer….

11. Know that there is no “shortcut” or formula for being successful

If there was, everyone would be a millionaire and on MTV.

Believe me, I’ve read hundreds of music magazines and books, and have talked with some of the greatest managers and biggest music attorneys out there. No one KNOWS how to make someone a star. Even the major labels. Because it’s different every time. And labels are wrong about 95% of the time as most of their acts do not become the next U2 or the Beatles. So, if you’re ever frustrated, know that you’re not alone. Don’t become jaded! Channel that frustration into energy and make yourself get out there and work harder.

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission from the author. Thanks!)

Copyright @2012. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

It was so great, I told her she should write an article expanding on what she wrote me and I’d send it out to my list.

So, here it is!

Aren’t you glad I asked her to write something?

Jennifer

P.S. Another title for this article could have been “Just Say No.”

****

Are You Worthy?
by Doña Oxford

I have been a professional working musician since I was 16. I’ve been fortunate enough to have played with legends such as Keith Richards, Bob Weir, Levon Helm, Buddy Guy, Albert Lee and many more on every level: arenas, festivals, even dive bars. This is how I make my living, gig to gig, paycheck to paycheck. I’ve spent countless hours and serious money investing in my education and skill.

And I’m getting really tired of giving away my art for free.

It’s expected. We as artists are expected to give away free downloads, free CDs, free videos. We even pay the nightclubs to play for a crappy 40-minute time slot, all under the guise of “exposure” or “promotion.” It’s bullshit. When has an A&R rep ever showed up at your gig?

Just last week, a local blues band asked me to play on their album for free, as a marketing tool to get better-paying gigs. So I’m expected to spend my gas, my time, wear and tear on my car, my ideas and my hard-earned skill in the hopes of your band getting a few paying gigs on which you might hire me?

This is my living. I don’t work at the donut shop or as a temp at an office. I’m not a weekend warrior. I make music. I have rent and bills, overheads and employees, just like the record companies and club owners do.

In 1970, the average band made $400 a gig in a local bar. Today in 2012, it’s even less. We are one of the only sections of American society whose income has not increased with inflation. It’s appalling.

And yet top record labels, managers and agents all complain that they’re losing money and want to raise their fees. Some are charging the artist 35 to 50 percent for representation. Labels are now taking a cut of tee-shirt and non-album-related merchandise — money that isn’t theirs. And I’m so tired of hearing big companies whine because they say they are losing money. The artist is and always has been, throughout time, the lowest paid. Yet… remember… without the artist, they have no product to sell.

In 1998, everyone laughed at Metallica for going against the new Napster concept of file sharing. And look where it has got us. Why should the consumer buy music when they can get it free from YouTube? Why should the consumer buy your entire album when they can buy one track for 99 cents. Of which, if you are lucky or savvy, you may get a whopping 30 cents.

And now everyone is up in arms over the SOPA and PIPA laws. They are so afraid they will lose access to their beloved internet and their freedom of speech.

Let me tell you something: Michelangelo, Dalton Trumbo, Eugene O’Neill, Reinaldo Arenas… none of them had websites and yet these artists found a way to get their expression out to the people. It’s all a facade.

Don’t get me wrong, I oppose the SOPA law because it is quite dangerous the way it is written. However, I am thrilled that it opens up the anti-piracy conversation. And so what if someone actually had to pay another artist for the use of their work in order to put their self-serving bullshit video up on YouTube? That artist deserves to be paid.

The “Occupy” movement is all about casting light on corporate greed. But what about the greed in all of us? It has become so commonplace that we expect to get everything for free. Especially if it’s art-related. Free music, free movies, free TV (don’t have to watch commercials now with DVR). My momma used to say, who will buy the cow if they can get the milk for free?

By expecting everything for free, we have devalued ourselves. We have bartered ourselves down to the lowest common denominator. We have increased the amount of crap we now have to wade through in order to find the gems. We have lowered our standards and the quality of our art has suffered. Lip-synching, auto tune, horrible lyrics, reality TV, bad sequels, etc. Every Joe Schmo is in the game now. So we have to compete against crap for no money and false opportunity.

Bill Cosby once said, “Mediocre people are very, very dangerous when they get together. There’s one thing they are not mediocre about and that is fighting off people who are superior. They bring standards down and make it appear that you’ve really got to be a genius to be mediocre.” Thank you, Mr. Cosby.

We are the artists. We are the free thinkers. We are the creators. We are the innovators.

Doesn’t that deserve respect? How about self-respect? I know times are tough and it’s hard to say “no” to what looks like an opportunity. But how much are we really gaining in the long run?

Artists need to know their worth. We need to start demanding that we get paid for our talents. We need stronger unions, anti-piracy laws and maybe something as simple as integrity. We need to support our fellow artists instead of asking them to do us a favor. And we need to feel worthy enough to say, “No, I deserve better. I am worthy.”

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission from the author. Thanks!)

Copyright @2012. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

A lot of artists out there like to cry and whine and call anything a “scam” just because a company charges money for a service. A service many artists either 1) can’t afford or 2) don’t feel they should have to pay for.

That is so 5th grade.

Instead of trying to email me and figure out a way I can help you or we can work together, I get emails saying “you’re a scam” — as if calling me a name will somehow make it ok in an artist’s mind that an artist can’t afford to work with me.

I don’t understand where this comes from except maybe jealousy. “I can’t afford your service, so if I call it a ‘scam’ I will make myself feel better that I don’t have the money for it.”

After all, the definition of a business is: 1) a person, partnership, or corporation engaged in commerce, manufacturing, or a service; profit-seeking enterprise or concern.

Now maybe you don’t think money should be part of the music business.

Please.

It’s called the music BUSINESS not the music “hobby” folks.

***

Now, a scam, on the other hand, is defined by dictionary.com as 1) a confidence game or other fraudulent scheme, especially for making a quick profit; swindle.

Fraud is defined by dictionary.com as 1) deceit, trickery, sharp practice, or breach of confidence, perpetrated for profit or to gain some unfair or dishonest advantage.

I take personal offense to anyone who calls my business a scam.

One artist recently wrote me and said “Wow, if 99% of songs don’t get licensed, then you’re a scam.” As if I control the marketplace. Yes, you’re an artist and you’re in the MOST competitive business in the WORLD after maybe acting. If you don’t like the odds, then do something else. Go to law school or get an MBA or become a doctor or surgeon. If I were a scam, I would LIE and say, “Your music is great and you have a 99% chance of it getting licensed” but instead I am honest and tell it like it is. Don’t shoot the messenger.

Or, “How dare you charge us poor artists.” Well, geez. It’s not like I’m selling water for $1000 in the desert here. If you’re poor, get a job. Making and marketing and promoting your music (and touring) costs money. No one is going to give you money in the beginning of our career to pay for those costs so either 1) you do it yourself or 2) it doesn’t get done. Anyone that runs a business in say, licensing or management that does it for free or 100% on commission either 1) has clients making millions, so they can afford to work on commission only or 2) is really stupid/eager to work in this business so they work for peanuts because they want to “break in” to the business 3) has a HUGE trust fund and is doing this for fun but not as a real business. Go find one of those people to represent if you don’t like what I do.

Do I run a business to make money? Of course. Your precious Apple iPhone and laptop and musical gear all was made by a company that sold it to you and made a profit in doing so. Every time you step into a restaurant or Starbucks or any store, they are making a profit. Is that bad? How dare they mark up food so much. Well, if you don’t like it, don’t eat out.

***

I have never ripped off anyone in my life and I never intend to.

One of the things I am most proud of in life is my honesty. In fact, if you know anyone in this business, ask them about me and I’m sure they will tell you what an honest and ethical person I am. Ask any of my past clients.

It is offensive when an artist reads my emails and thinks, “She charges money for her services. What a scam.” Or “I don’t like how much she charges or the percentage she takes. Therefore, she is a scam.”

I have no idea why the word “scam” always comes up but it does.

It’s a cheap shot and a low blow. Don’t use it.

If you don’t like what I do for a living, or if you aren’t interested in my emails or services, that’s fine. Simply email back with “unsubscribe please” and I’ll GLADLY take you off my email list.

I devote HOURS and HOURS and HOURS to writing and sending out these emails to you FOR FREE to EDUCATE and HELP artists (and ironically, to protect artists from getting “scammed”). 

I don’t know ANYONE else in the business who does that, do you? 

Other companies may offer their services to you at cut rate prices. Good for them. They are McDonald’s. I am that cool neighborhood restaurant with organic ingredients that sure, you may pay a bit more for but the quality and service and food is a lot better. I am not McDonald’s, offering crappy food for $.99. You get what you pay for in life. If it’s working for you, good. Go with them. Then you shouldn’t care if I charge $1 or $100,000 for my services because they don’t interest you, right?

My business model is not the same as the business model of say, a music library that deals in VOLUME. I am small. I am boutique. I may only pitch a few songs for an opportunity for a major ad, film or TV show. People come to me in this business because they like me and respect me and I don’t bombard them with 10 or 20 or 100 crappy songs but only a few good ones. Libraries pitch dozens of mediocre tracks and quite frankly, the quality of most music in music libraries is not good.

I have 10+ years of experience in pitching music for film/tv. I get paid for what I do because I’m that good.

Anyhow don’t ever email me and call what I do a “scam.”

That would be like me calling you a “talentless hack” just because you’ve never been signed to a major label or publisher before or haven’t licensed your songs or made millions of dollars yet. I would never say that to anyone, no matter how bad their music was because I know 1) artists are sensitive 2) music, singing, songwriting, production can ALWAYS be improved upon. So, while I may think some things to myself, I would never say someone is a “talentless hack” and “hopeless” and I would appreciate if you never use the word “scam” and my name ever again.

Thanks!

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission. Thanks!)

Copyright @2012 True Talent Management. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

If you’re like most artists, you have this ridiculous belief that everyone should work for you for free.

I know because I hear it from all my friends. Other managers. Publicists. Radio promoters.

Well, the problem is, that’s an unrealistic idea.

Crazy and unfair to boot.

But, before I tear it completely to shreds, let me defend it for a second.

***

Yes, I know where it comes from.

You think people should work for you for free because your music is so great.

And maybe it is. And maybe it isn’t.

The problem is that so many people in this world are DESPERATE to work in the “music business” that they WILL work for you for free.

Anyone can hand out business cards and call themself a manager, even if they have NO idea what they are doing and have never managed a band before.

So of course, someone in that situation is going to have to “work for free” because they have no proof that they can manage anyone effectively.

I know because I used to be one of those people (a new manager, although I always was good at it, even when I had little to no experience).

Of course, when I was starting out as a manager, I was working for free. But that was fourteen years ago.

And, back then, in fact, I wasn’t just “working for free” – I was losing money.

But it was ok.

Because, like many managers, I had a day job and I managed “on the side.” A lot of managers do this when they are starting out.

A lot of people manage as a hobby.

And that’s fine.

But what about when you get past that point?

Sure, I worked for peanuts, essentially “for free” for many artists. Sure, we made some money…but it was peanuts compared to the hours I put in.

And to add insult to injury, after working pretty much for free for four years for one band, that band screwed me over big-time when even a tiny bit of money came knocking from a shady music publisher. Now the band is nowhere and the shady guy got fired from his big, hot shot job at a major studio. Ha!

Anyhow, I digress.

Point is, I think a lot of artists get SPOILED by newbies and believe that EVERYONE should work for them for free.

And sadly, a lot of artists and bands also somehow justify it being ok to fire their manager and screw them out of money when things FINALLY take off after their manager’s YEARS of hard work and making NO money from them. All I can say is karma is a bitch.

But back to my original point…

**

Now, there’s a BIG difference between having a manager that’s say:

1) an accountant by day — and manager by night (or a manager that works from home)

vs.

2) having a professional, full-time manager

I’ve crossed over from that first group to the second (although thankfully I was never an accountant).

Yet, artists seem to always approach me with this thought process, “I’m making NO money. I have no fan base. My songs may or may not even be that good. But I want YOU to work for ME for free. It’s your job to figure out how to make money for me, even though I’ve never made any money for myself.”

Ha ha ha ha ha ha.

and…

#@$#@%

In case you haven’t noticed, there have been DRAMATIC shifts in the entertainment business over the past few years.

Most notably, record companies (and publishing companies) are downsizing more than ever before — to the point where even many of my long-time A&R friends are losing their jobs….and not getting hired back.

With labels (and publishers) signing less talent, that means less money all the way around.

Now….

How do managers get paid?

Normally, the biggest way is from a percentage of your record label or publishing deal advance.

Whereas back in the 1980s or 1990s, it wasn’t unheard of for a band to be getting nice 7 figure deals, that just isn’t happening anymore. So back then, a manager could make a good six figure income if they just got one artist a good record and publishing deal every year.

Flash forward to 2012. Budgets are being slashed left and right. And sure, labels and publishers are still signing bands. But you’re much more likely to see a $50,000 – 360 record deal being offered today than anything in the six or seven figure range.

What does that mean?

That means managers aren’t reaping those big commission checks anymore.

And without them, there is no more “work for you for free ’til you get signed.”

Now you’re just coming to a manager and flat out asking them to work for free.

UGH.

I don’t know what the future is but at an industry event the other night someone told me that “big” and “established” MANAGERS of star acts and well-known bands are now asking ARTISTS TO PAY MANAGERS FOR THEIR SERVICES. Or taking 30-35% commission instead of the standard 15-20%. Because even 50-100% of $0 is $0.

Ha, and to think all these years, I was just AHEAD of my time.

Of course managers are doing this.

Because those big, fat record and publishing advances aren’t there anymore.

And managers need to get paid somehow.

It makes sense.

Any reputable manager isn’t running a charity.

Managers run a business with staff and rent and expenses to pay.

And don’t forget, most managers are self-employed so we’re all paying for our own office rent, assistants, sick days, health insurance, cell phones, computers, computer repairs, it all adds up. Plus, there is no “paid” vacation time or 401K plan when you’re a manager so you have to build that into your cost of doing business.

Maybe now that you see how things have changed, you’ll stop asking a manager to work for you for free.

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission. Thanks!)

Copyright @2012 True Talent Management. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

or

2) Tour

The only real exceptions to this rule are:

1) “radio” bands

2) pop stars who break through success on a TV show or movie first (think Disney kids).

Now, before you start getting your guitar strings all in a tizzy, hear me out. Yes, there are ALWAYS exceptions to the rule.

But, generally speaking, if you don’t tour, how do you expect to develop a following?

And if you don’t develop a following, how do you expect to make a LIVING from your music?

Touring. Touring. Touring.

“Why is touring so important?” you ask.

Good question.

Many reasons:

1) Touring is the only real way bands develop a fan base. 

Sure, back in the day, there was radio and videos on MTV and now we have all the social media outlets like Facebook YouTube and such, but being in a room, in person, in front of people, singing your songs and playing your music is still the best and only way to develop a true and loyal fan base. As great as social media is, we are still human beings and nothing beats a live concert and meeting the artist afterward.

After all, would you rather get an email from your favorite band or singer? 

Or get to meet them after their show? 

EXACTLY!

Sure, you may even be clever enough to create a YouTube video that gets a million or more hits. But YouTube videos are here today, gone tomorrow.

If you play a show, even if only 10 people are in the room, and you have a nice chat with them after the show, and they like your music, I guarantee they will tell their friends not only how GREAT a band you are, but also how NICE and COOL you were to them after the show. So, when you go back to that town or city, you should have MORE people there the next time. Sometimes you have to start small to get big. 10 now, 20 later. 40 down the road. Then 80. Then 100. Then 200. Then 1,000. You get the idea….fan bases can develop exponentially over time. But it takes TIME. So if you don’t start today, you’re never going to get there.

2) If you don’t tour, how do you expect to ever get signed?

Say you want a record deal. Or just someone to “invest” in your music (that isn’t a parent or family member). Say you give me a CD and I send it to one of my label or “investor” contacts — and they LIKE it. Well, the very next question they are going to ask me is, “How’s the live show?” So, if you don’t tour, there is no “live show” and no fan base. A label’s level of interest goes from HERE….to well, here…because labels know what all of us in the industry know – TOURING BUILDS A FAN BASE. It is an ESSENTIAL part of your career and key to your success.

3) When you play live, you get to meet with and network with other artists and bands. 

And guess what the #1 way an artist gets an opening slot on a tour is? Yup, that’s right. Their friends. That’s why Taylor Swift takes Kellie Pickler out on tour with her instead of a million other artists: because they are friends.

4) If you don’t play live, you’re probably not getting a performance on a TV show.

I was just talking to one of my contacts who works as a booker on a major TV show. He said, “Do you think I’m going to send a camera crew of SEVEN out to film an artist who isn’t AMAZING live?” Of course not.

You may not need a huge fan base to get on a talk show, but if you aren’t playing a show in the next few weeks, how is the booker even going to come see you live to evaluate your show for its TV potential?

5) The only way to get “better” live is to play out often and tour.

How do you get better at something? Practice, practice, practice!

For years I managed a band that had incredible success in the music placement area (thanks to some well produced songs and an amazing promoter in yours truly). And we had tons of label interest. However, whenever we would showcase for the labels, which we did time and time again, after the show it was crickets, crickets, crickets. Our lawyer said, “I think the band isn’t getting signed because of the live show.” They sounded fine live. But there was no energy. The lead singer had no charisma up on stage. No spark. The band played out but they never even went on a real tour. They just played locally and in Los Angeles a few times. So the live show was just “ok” and “ok” isn’t enough to get signed. And A&R guys and labels and even a savvy investor knows that the #1 way to break a band is ON THE ROAD. So, if you want to get better live, play out often and go on tour!

6) Touring is part of your “job” as an artist.

Yup, you heard me. You don’t want to be like Steely Dan, do you? It’s SO hard to get attention these days, so if you don’t tour, you’re cutting out a HUGE way you can get noticed. After all, I’m sure you’ve all had friends tell you, “Dude (dudette?), you HAVE to see this band play live. They are AMAAAAAZING!”

GOOD WORD OF MOUTH IS EVERYTHING IN THIS BUSINESS!

You want to be that band.

If you’re an artist who is not playing out and not touring, well, that’s like a painter that says they only use 1/2 of the colors. Or a chef that only knows how to make a few dishes. Sure, you can do it, but it won’t be much of a painting…and you won’t be much of a chef and it certainly won’t be a very good restaurant if you only make one or two items. Sure, you’re still an “artist” if you don’t play shows. But maybe you’re really just a “songwriter” and not a “performing artist.” Do you want to be Diane Warren? Or U2? Each have made millions. But who do you think has made more?

7) You want to get signed? What do you think happens after you make your record?

You tour!

I know we talked about that earlier but it comes up a lot.

Artists say to me all the time, “Oh, but I’ll tour IF I get signed to a label” or “I’ll tour WHEN I get signed.”

Here’s the rub.

Labels don’t want to hear that.

In fact, I bet most labels would laugh if they heard an artist say that.

They don’t care.

Put yourself in their shoes.

You can choose to sign any artist in the world that is unsigned.

Pool #1 has 1,000 artists who want to get signed who are touring, have developed a fan base and are working their butts off.

Pool #2 has 1,000 artists that have either 1) never toured or 2) only played a handful of dates here and there.

Now, put yourself in the shoes of the A&R guys and President of the label.

Why would you even LOOK at artists in Pool #2 when there are already TONS of amazing artists in Pool #1?

Exactly!

What happens after you sign to a label and make an album?

The label puts you out on the road.

Now why would they do that with an “unproven” entity? What if they sign you and you hate touring? Or the band gets along great in the studio but not on the road? If they only sign acts that tour ALREADY, they’ll never have to worry about these problems, right?

8) Money

How do you expect to make any money if you don’t tour?

With CD sales falling, ticket sales (and merchandise sold at shows) are one of the only ways to make money in this business. How much did U2′s tour gross in 2011? North of $300 million. Sure, you’re not U2, but most artists make their living on the road.

9) You need or want a booking agent

Booking agents don’t care if you have a record deal or not.

But what they DO care about is, “How many people can you draw to this show next month in Toledo?”

A key to success is getting a great booking agent on your team.

And you can do that, even without a record deal.

But you need FANS…

And how do you get FANS???

TOURING.

10) You want press?

If you want any real press, you need to tour. Most local and national newspapers and weeklies don’t care much about you unless you’re coming through town soon.

11) If you don’t do it, someone else will

While you’re sitting at home, crying that it’s “too hard” or “too expensive” or “pointless” to tour, other artists and bands are slogging it out on the road and developing fans, one by one.

Think of it this way.

Even if you’re a solo artist or band, and you played for one fan every night, if you played out every night, in a week you’d have 7 fans and no doubt have sold 7 CDs/shirts. In a month, that’s 30 fans and CDs/shirts. In a year, 365 fans and shirts. Of course, any place you play should have at LEAST 5-10 people so do the math.

Sitting at home = no fans.

Playing out = fans every time you play.

Of course, you have to be savvy about touring. Use social media to promote your shows. Don’t know anyone in a city? Find some people online, or buy targeted ads on facebook for the cities and towns you are going to play. Make great and ENTERTAINING YouTube videos to help grow your fan base. Ask your fans to bring their friends and promote your next shows.

12) It’s fun

Yes, playing your music live, in front of people and not a YouTube camera, is and should be FUN. You should ENJOY and LOVE being up on stage, getting to perform for people every night. Getting to see people’s reactions to your songs, your energy on stage, your lyrics…that should all be PRICELESS. After all, isn’t performing one of the reasons you got into the music business in the first place?

***

Now, I can probably add some items to this list but 12 reasons should be enough. Maybe you can think of more??

I understand that many of you can’t tour because 1) you have a day job 2) you have a spouse and/or kids to support 3) gas is really expensive 4) the economy “sucks”

I suppose that’s why so many artists that get signed are so young. Because when you live at home and have no responsibilities, you can go on tour.

However, even if you have family and financial obligations, you can still play out.

My friend’s brother is married with kids in New Jersey yet they still play out almost every weekend.

Sure, he’s doing it for fun and not to get signed. But if he can do it every weekend with a wife and kids to support, so can you!

***

Now I know I can’t “talk” you into touring.

Artists either “get it” and tour and play out as often as they possibly can. Or they don’t. And no amount of me trying to convince you, especially over an email is probably going to change your behavior (although secretly I hope it will).

Just know that the artists “making it” today are touring. Why, even Katy Perry went on Warped Tour when her first album was breaking. Sara Bareilles rode around in a van even after she was signed to Epic to promote her first album. Everyone tours.

So if you’re not reading this email from the back of a smelly van somewhere…

(Please feel free to forward this email and this email alone to members of your band or other artists you know. But please do not post it on a web site or blog without asking permission. Thanks!)

Copyright @2012 True Talent Management. All Rights Reserved. This material may not be published, broadcast, rewritten or redistributed without author’s prior consent.

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

****

What’s the difference between being “good” and being “great?”

That’s a good question.

I’ve always believed there is one’s natural ability…and then the effort one puts into something.

Let’s take Mariah Carey as an example. She was one of my favorite singers growing up.

She has an amazing voice and range, right?

I assume she was just born with that…

However, a lot of success in life isn’t about being born with a specific talent, like an amazing voice or eight octave range.

It’s about the effort you put into IMPROVING what you have.

***

Now, I may take a million singing lessons and still never have near the voice of an opera singer or Mariah Carey.

But there is a lot I do have control over.

If I were a songwriter, for example, I could control the quality of the songs I write.

And so can you.

***

Let’s take my teacher friend as an example.

Remember school?

I know it was a long time ago for many of you…and not so long ago for others of you (maybe some of you reading this are even still in school).

Anyhow, remember taking English class? And getting back papers with red marks all over them?

If I recall, much of school was like this.

My friend is a teacher. As is my aunt. As were both my grandmothers. But I digress….

I’ve been over to my teacher friend’s house numerous times and have sat in awe and watched him grade papers for hours and hours and hours.

He just sits there, on his sofa, every night after school, and spends HOURS grading papers.

If you have a friend that teaches, I implore you to go over to their house one night after school and watch them sit and grade papers.

Why?

Because it will teach you this: to learn and most importantly, to IMPROVE at anything, whether it’s English or Math or Social Studies or Science or SONGWRITING, it takes a LOT of mistakes. Doing things the wrong way and trying something new. And having someone correct your mistakes and show you how to make things BETTER!

I consider myself a good writer. I mean, good enough that one of my articles is going to be published in an upcoming issue of Music Connection.

Yet, if I think back, I probably wrote from 3rd grade all the way through high school and four years of college and had millions (ok, hundreds) of pieces of writing critiqued and graded and redlined and I probably got a lot of bad grades before I got better.

Sitting there watching my math teacher friend grade papers with his red pen reminds me of how important it is to keep working on IMPROVING anything you write. Sure, he teaches math but the same is true of English and writing and even if you’re writing songs, you should CONSTANTLY be working to IMPROVE those songs. Write better lyrics. Run them by other artists you know and like and TRUST for CONSTRUCTIVE feedback.

We can and never should stop IMPROVING our work.

Right?

I know I wouldn’t be half the writer I am today if I hadn’t gotten all that constructive feedback about my writing.

What about you?

Jennifer Yeko
True Talent Management ~ True Talent PR

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210

http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

Great artists who haven’t “broken through.”

And I often wonder why that is.

Of course, there are many factors that go into becoming (or not becoming) a success. Luck, timing, etc.

Now, we’ve already discussed in previous emails how you “create your own luck” by basically working your butt off.

And of course, there is just “being in the right place at the right time.”

A lot of life is random. Winning the lottery. Getting a disease or getting hit by a drunk driver. Working at a dotcom that turns into the next Facebook or Google or what have you. Good things can happen to bad people and bad things definitely happen to good people.

But at least 50%, if not more of life is created by the decisions you make.

I see GREAT artists making POOR decisions all the time.

They sign deals with shady people or companies.

They don’t work hard enough.

They don’t make their music better.

They don’t tour or play out enough.

They hire terrible publicists or lawyers or managers or promoters or music licensing people who don’t know what they are doing (or who don’t have the connections to do what really NEEDS to get done).

Or they don’t hire anyone at all, which is even worse.

They throw their music into music libraries with hundreds of thousands of songs in them….and sit around waiting, and waiting…thinking that will do something…thinking that something will happen from being passive, when 99% of the time, it won’t.

Great music won’t rise to the top unless you have a cheerleader for it.

After all, isn’t that a LOT of the reason artists want a major label deal?

Uneducated artists don’t invest their own money in their own careers. Yes, even Snow Patrol, Imogen Heap, Katy Perry, Taylor Swift, all those artists invested their own money (or had families that did) for years and years until they broke through. Rich parents aren’t the key (although they can obviously help a LOT). Many acts work their butts off at minimum wage jobs to get enough money to record with the “right” producer. Or to get enough money to tour. I’ve seen it. I’ve managed those acts, in fact. I’ve also managed the “lazy” ones that thought a record deal would fall in their lap because they wrote a few good tunes. Guess what? It didn’t…

I see artists all the time that hire the wrong manager and wrong team members time and time again. And wonder why it “hasn’t happened” for them yet.

I can’t MAKE you make good decisions (in life and/or with your music career).

I can’t MAKE you hire the right manager or right promoter…or even the right band members.

I can’t MAKE you go on the road.

I can’t MAKE you work on your songwriting skills and VOCALS to make them better.

But I do know, if you don’t learn to make better decisions, you’re going to be stuck neutral for a long, long time.

Jennifer Yeko
True Talent Management

9663 Santa Monica Blvd. # 320

Beverly Hills, CA 90210

http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business

2. Follow your hunch but don’t be over inspired by something that might only be personal.

3. Write and produce what’s in demand. That in itself is an art form.

4. Business is simple – give people what they want and not what you think they need. That’s how money is made.

5. Don’t be offended by the word “no”.

6. Don’t be offended if you’re ignored. Your track probably did get listened to.

7. Nobody owes you a living.

8. If you’re an unknown writer or artist and you want to get your music listened to by the people that count, you’ll sometimes have to pay out of your own pocket to get this done because it takes time and patience to get material listened to. There are no guarantees that come with that. Why should there be? Those people have acquired their contacts and knowledge through years of dedication to their own craft and their reputation is important in sustaining those relationships for your benefit as well as their own.

It took me years to understand and appreciate that, don’t let it take that long for you.

9. Songwriting is a numbers game. If you’re good, you’ll keep popping them out. You’ll improve the overall quality of your work and your knowledge of the bigger picture will expand and then all will become clear.

10. Don’t be precious. Be helpful, but stick to your guns.

-Jonny

Thanks!

Jennifer Yeko
True Talent Management
http://www.truetalentmgmt.com

http://www.truetalentmgmt.wordpress.com – Read my music blog for advice on making it in the music business