Old 10-10-2019, 06:16 AM   #1
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Default Music Business education links

I have been learning more about the music business and thought you guys might like these youtube channels. There is some good info out there. It's confusing as hell but the info is helping. The first channel (Mariea Watkins) is very receptive to ideas and often makes videos on suggested topics. Enjoy.

https://www.youtube.com/channel/UCgy...fWOwdiQ/videos

https://www.youtube.com/channel/UCfa...SJzLXVA/videos

https://www.youtube.com/channel/UClT...p_kxaGA/videos

https://www.youtube.com/user/Damiankeyes/videos
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Old 10-10-2019, 06:52 AM   #2
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"Music Business" is an oxymoron!
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Old 10-10-2019, 06:56 AM   #3
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"Music Business" is an oxymoron!
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Old 10-10-2019, 07:07 AM   #4
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I joke, but I used to copyright with the library of congress, every song I'd write, and had the book with 10,000 music publishers so I could send out demos hoping to get a deal.

Then one day I had an epiphany when I asked myself the question "why do I create music". My answer was very different than why I thought I was creating music, and how I ended up where I am now.
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Old 10-10-2019, 07:15 AM   #5
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It's really simple. The artists are like oatmeal, everyone else markets and sells oatmeal, why the hell would the oatmeal expect to get paid?
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Old 10-10-2019, 07:33 AM   #6
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When I put out a song in US, the mechanical compulsory license requires me to allow anyone to make covers of it and pay me something.

How does copyright work with other types of art ? Can I have artists copy famous paintings and then me sell prints of them and then give the original artist 9 cents ?
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Old 10-10-2019, 08:06 AM   #7
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I'm friends with Phil Cody who wrote the lyrics for Laughter in the rain, Bad Blood, Doing it all for my baby, and other hit songs you've probably heard on the radio and I'm also friends with Ted Perlman who's played on and recorded a lot of famous people's records like, Bob Dylan, Brian Wilson, Chicago, and won a Grammy with Burt Bacharach among other things.

Both of them really like my music and call me at the house on occasion just to shoot the shit. Anyway, I once thought I would leverage my friendships with them to get my foot in the door, and Phil actually had one of my songs on his site where he was trying to promote his own music, but the reality of it is my stuff is not what the record companies are looking for, and I've realized that I don't really want to be bound by them anyway. I create music because I love music and other musicians and artists like it, but million dollar smash hit material it is not, because I play from the heart.

Anyway, I think it's good to ask yourself why are you pursuing a career in music. Is it for fame? Is it for fortune? Teh gurlz?
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Old 10-10-2019, 08:14 AM   #8
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I'm friends with Phil Cody who wrote the lyrics for Laughter in the rain, Bad Blood, Doing it all for my baby, and other hit songs you've probably heard on the radio and I'm also friends with Ted Perlman who's played on and recorded a lot of famous people's records like, Bob Dylan, Brian Wilson, Chicago, and won a Grammy with Burt Bacharach among other things.

Both of them really like my music and call me at the house on occasion just to shoot the shit. Anyway, I once thought I would leverage my friendships with them to get my foot in the door, and Phil actually had one of my songs on his site where he was trying to promote his own music, but the reality of it is my stuff is not what the record companies are looking for, and I've realized that I don't really want to be bound by them anyway. I create music because I love music and other musicians and artists like it, but million dollar smash hit material it is not, because I play from the heart.

Anyway, I think it's good to ask yourself why are you pursuing a career in music. Is it for fame? Is it for fortune? Teh gurlz?
If I can choose fame or fortune, I'll take fortune everytime. :-) I still play Neil Sedaka songs as they still stand up today. Great melodies and production. Laughter in the Rain is one I played just the other day. Very happy song.
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Old 10-10-2019, 08:29 AM   #9
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It's really simple. The artists are like oatmeal, everyone else markets and sells oatmeal, why the hell would the oatmeal expect to get paid?
I don't know if it's still in the movie because the thing has been bought and sold so many times now, but I did get paid for writing the opening music, plus sprinkled audio clips throuout the documentary about Randy Castillo. The original opening shot was a helicopter flying through the canyons of New Mexico where Randy grew up and the music I composed for it was a Native American wooden flutes thing that evolved into orchestral stuff. I got paid on a contractual basis for each bit. Sharon Osbourne was footing the bill for some of it originally.
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Old 10-10-2019, 08:33 AM   #10
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If I can choose fame or fortune, I'll take fortune everytime. :-) I still play Neil Sedaka songs as they still stand up today. Great melodies and production. Laughter in the Rain is one I played just the other day. Very happy song.
The story behind that song's main hook was that Phil and Sedaka were stymied and stopped right where the big chord change happens. Phil went outside to smoke a cigarette and it was raining where he heard in the distance someone laughing. He went back in and they finished the song up in short order. I jokingly asked him how much he gets paid when I hear that song at the grocery store. He said maybe a couple of cents.
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Old 10-10-2019, 08:37 AM   #11
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The story behind that song's main hook was that Phil and Sedaka were stymied and stopped right where the big chord change happens. Phil went outside to smoke a cigarette and it was raining where he heard in the distance someone laughing. He went back in and they finished the song up in short order. I jokingly asked him how much he gets paid when I hear that song at the grocery store. He said maybe a couple of cents.
I hope those cents add up !
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Old 10-10-2019, 08:46 AM   #12
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I don't know if it's still in the movie because the thing has been bought and sold so many times now, but I did get paid for writing the opening music, plus sprinkled audio clips throuout the documentary about Randy Castillo. The original opening shot was a helicopter flying through the canyons of New Mexico where Randy grew up and the music I composed for it was a Native American wooden flutes thing that evolved into orchestral stuff. I got paid on a contractual basis for each bit. Sharon Osbourne was footing the bill for some of it originally.
It was really about the business in general I was speaking of, we all know the creators get incredibly small portions comparatively. I provide the same value in a different way in the tech biz, I make 100-1000 times the money for the same amount of work or less.

From a live perspective... in the early 80s, I could play your garden variety pub gig and get paid 100.00, in 2019 almost 40 years later, I still get paid 100.00 for the same basic gig. Fortunately I donate most of that to charity these days because I can.

I have a deranged effected cymbal loop thingy where I made a mic out of a cymbal. It lives on some 90's indy band's CD and I don't even remember who it is LOL - they were known at the time, I just don't remember. Mainly because I sort of donated it when asked at the time.
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Old 10-10-2019, 08:50 AM   #13
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I hope those cents add up !
They do. He also said in that same conversation that he makes a sizeable income each year off of all the pennies generated from all the songs he's written lyric for.
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Old 10-10-2019, 09:03 AM   #14
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It was really about the business in general I was speaking of, we all know the creators get incredibly small portions comparatively. I provide the same value in a different way in the tech biz, I make 100-1000 times the money for the same amount of work or less.
I hear dat. I retired at age 49 after paying everything off from my tech oriented employment income. I had cushy 9:00-5:00 hours with no after hour BS, but because I managed my finances better than my employer, I'm retired and he still has to go to work.

Quote:
From a live perspective... in the early 80s, I could play your garden variety pub gig and get paid 100.00, in 2019 almost 40 years later, I still get paid 100.00 for the same basic gig. Fortunately I donate most of that to charity these days because I can.
$100 per band member was always the bare minimum in all the bands I've been in. I quit playing live in the 80s but a couple years ago got strong armed into going out live again, and as you said, clubs were still playing only about $100 per band member.

Quote:
I have a deranged effected cymbal loop thingy where I made a mic out of a cymbal. It lives on some 90's indy band's CD and I don't even remember who it is LOL - they were known at the time, I just don't remember. Mainly because I sort of donated it when asked at the time.
I was always happy to do music for hire in the studio, and have been on lots of commercials, training videos, and even made $250 for doing a tom fill for a class ring promotional video where the guy creating the music didn't like what he had programmed for drums. Hehe, all I did was a roll down the toms for it.
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Old 10-10-2019, 09:05 AM   #15
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Charleston, SC is also $100 a gig. :-(

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Old 10-10-2019, 09:18 AM   #16
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I love playing live music so much, I don't even need to get paid and I often don't. But if I didn't have a good job, I could't do that. I enjoy making it in all forms enough that I won't stop until I can't do it any longer because the minute that occurs, I'm going to be missing all the times I could have and didn't.

That and walking into a club at 56, setting up and playing on a stage, just feels like home. I'm rarely as comfortable as I am then.

@Coach - I used to play Charleston quite a bit. I think the last gig I played there was that little club across the bridge on Folley's island - that's been a while! Maybe it was the Sand Dollar?
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Old 10-10-2019, 09:23 AM   #17
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I love playing live music so much, I don't even need to get paid and I often don't. But if I didn't have a good job, I could't do that. I enjoy making it in all forms enough that I won't stop until I can't do it any longer because the minute that occurs, I'm going to be missing all the times I could have and didn't.

That and walking into a club at 56, setting up and playing on a stage, just feels like home. I rarely as comfortable as I am then.

@Coach - I used to play Charleston quite a bit. I think the last gig I played there was that little club across the bridge on Folley's island - that's been a while!
I quit the band that strong armed me into playing live again about 9 months ago, but it had nothing to do with my enjoyment level of playing live. It had everything to do with clubs not closing until 2:00am or later and me not getting home till 3:00am or later sometimes. Had they booked gigs that were over at 10:00pm-11:00pm maybe even midnight, I would still be playing live.
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Old 10-10-2019, 09:27 AM   #18
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I'm not a fan of the late ones but it's not like it was in the 80s here. Most gigs are 8:30-11:30 contrasted with 10:00-2:00AM back in the day. Gigs are earlier and about an hour shorter in total duration.
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Old 10-10-2019, 10:12 AM   #19
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I'm not a fan of the late ones but it's not like it was in the 80s here. Most gigs are 8:30-11:30 contrasted with 10:00-2:00AM back in the day. Gigs are earlier and about an hour shorter in total duration.
I could have fun at gigs where I got home at a decent hour, and those gigs do exist around here. Bass player from another band I was in around 2010 plays in the house band at a club where he gets off at 11:00pm. I tried getting in his band but it's a weird arrangement where the club owner is a musician from a well known local band and HE decides who will be in the house band and what songs they will play. After I didn't get in on the first try I thought about it and decided I didn't want that guy also telling me what to play on the drums so I never tried again to get in the band.
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Old 10-10-2019, 10:17 AM   #20
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I could have fun at gigs where I got home at a decent hour, and those gigs do exist around here.
My original band (which is on hiatus right now), we'd always try to find early gigs because our entire fan base's bedtime is 10PM. We're farking old Glenn. That said, I still stay up till wee hours but it's the physical work of playing and post-show tear down that kills me at late gigs. Then again, if I didn't have a day job, I don't really think it would bother me as I'd sleep later into the next day - albeit I'd still be more tired than when I was 25. When I played full time - 2PM was breakfast.
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Old 10-10-2019, 10:21 AM   #21
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I love playing live music so much, I don't even need to get paid and I often don't. But if I didn't have a good job, I could't do that. I enjoy making it in all forms enough that I won't stop until I can't do it any longer because the minute that occurs, I'm going to be missing all the times I could have and didn't.

That and walking into a club at 56, setting up and playing on a stage, just feels like home. I'm rarely as comfortable as I am then.

@Coach - I used to play Charleston quite a bit. I think the last gig I played there was that little club across the bridge on Folley's island - that's been a while! Maybe it was the Sand Dollar?
Yeah the Sand Dollar. Remember I sent you a picture of it after I came back to Charleston from visiting you. It's still there. come on down. I'll probably be in jail though because some Indians called me an hour ago and said I've committed Social Security fraud and they're going to arrest me and take all my assets unless I give them my date of birth and social security number
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Old 10-10-2019, 10:35 AM   #22
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My original band (which is on hiatus right now), we'd always try to find early gigs because our entire fan base's bedtime is 10PM. We're farking old Glenn. That said, I still stay up till wee hours but it's the physical work of playing and post-show tear down that kills me at late gigs. Then again, if I didn't have a day job, I don't really think it would bother me as I'd sleep later into the next day - albeit I'd still be more tired than when I was 25. When I played full time - 2PM was breakfast.
Tearing down was what I hated the most in the last band. It was always way too late to go to breakfast after the gig, which we did used to do in the band back in the 80s, but we left our gear at the two places we were playing regularly so we only had to partially break it down and move it into a storage room.

Even without the burden of a day gig, it was still too late for me. Those guys who recruited me in the last band were 15 or 20 years younger than me and we did more current music for younger crowds. I was the oldest mofo at the clubs every time.
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