When it comes to gaining support from others, and I don’t just mean fans, but people who are willing to either a) provide you with their merchandise for free and/or b) front you money, a band really needs to prove themselves worthy, as next to no one will invest into something that isn’t a sure deal.

Sponsorship agreements need to be mutually beneficial between their parties. Therefore, if you, as an aspiring band, want to place yourself in a position to make demands, you need to have good bargaining chips of your own to back up what you say. It’s all well and good to make promises that you will do this, or that for each company that supports you, but without any tangible proof of your hard work, you’ll find yourself barking up a lot of trees to no avail.

For starters, I recommend getting some bragging rights to your name before approaching anyone. Once, you’ve got a decent amount of accomplishments on your resume, by all I means I encourage you to find as many sponsors as possible. Not only will this assist you with cutting down expenses, but it looks great on promotional materials, can help you reach a greater fan base and, most importantly, give your band that extra bit of “buzz.” If a band has a great deal of people behind it that are willing to invest into that band’s future, it speaks volumes to the media and labels indicating to them that they should be keeping their tabs on your act and its endeavours.

First things first, which companies should you go after? Remember that when you sign into a sponsorship deal, you are aligning yourself with that company. Not only does that make you a supporter of their products, but indirectly you are now a spokesperson for them (just as they are for you). Therefore, you must be apprised of the nature of their business. It will obviously look bad on your part if you accept free merchandise from a company that’s manufacturing plants are child labour sweatshops. So, rule number one is: know the company with whom you are getting involved to ensure that it is the kind of business with which you want to be associated.

Along the same lines, when choosing sponsors to approach, I recommend trying to find companies with which you share a common vision, or outlook. For example, as a female rock musician who promotes empowering messages through her lyrics, the first sponsorship deal I secured was with DaisyRock Guitars. DaisyRock is a company that specifically creates guitars that are tailored to the smaller physical stature of women. Their mission is very much to promote strong women icons in rock music, and to assist is absolving the inequities that female musicians face. I feel that DaisyRock’s and my message are one in the same, and therefore an alignment with each other was strategic. I fully support their mission and their products, while they offer my band a great deal of support.

The point I’m trying to make here is that if there is a cause or a movement in which you truly believe, there is likely a company that creates its associated products. Affiliating yourself with that company will ultimately affiliate you with that cause, and if you can find a means to profit from a cause that you truly support, it only makes the pie sweeter. But don’t mix up my words, I’m not suggesting that you jump on the bandwagon of every cause in town just to get free swag. Not only is that morally wrong, but your fans and sponsors will see right through it. There is nothing wrong with seizing mutually beneficial business transactions, but don’t let your greed misguide you.

If I can tell you anything about gaining media exposure, it’s this: persistence and loyalty pay off big time. Though results likely won’t emerge as a consequence of your initial trial efforts, this should not discourage you. The more a media outlet hears from you, the more likely you are to receive coverage. On the same note, don’t forget to acknowledge the exposure with which you are provided.

Building and maintaining strong relationships with various media outlets will only be to your advantage, and therefore is of the utmost importance. A step in the right direction begins with showing your appreciation for all media coverage, regardless of whether an outlet prints a full-page feature on your act or only mentions your band’s name in reference. Every little bit counts, and therefore should not go unnoticed.

If you still need more convincing, consider this: Canadian Musician (CM), a prestigious industry publication elected my opinions as the viewpoint for Canadian indie acts in regards to signing record deals for a ongoing three month feature. My perspective was represented alongside those of several industry bigwigs including Greg Nori (Treble Charger/Manager of Sum41), Steve Blair (Warner Music Canada), Barb Sedun (EMI Publishing) and Grant Dexter (MapleMusic/Last Gang Records). So I’m sure you can imagine just how much of an honour this was to me.

What most people aren’t aware of is that in order to be provided with such an opportunity, I had to continually hound the editor of Canadian Musician for over six months before I was even granted a response. When provided with this amazing experience, I ask him why he elected me as a spokeperson for Canadian indie acts. He responded with this simple answer, “Because you were extremely persistent, and professional with me on all accounts.” So, trust me on this one, persistence does pay-off, you just need to re-program yourself into appreciating prolonged, instead of immediate, gratification.

Timing and locality are everything
Timeliness is a key factor in terms of getting featured and if you can correspond your media efforts with an upcoming event, tour, or record release, you will likely have better results. Never leave the solicitation of your press release up to the last minute as the media has deadlines to which you need to demonstrate consideration.

Sending out emails or making the necessary phone calls at least two to three weeks in advance works well. However, for larger cities such as New York or Toronto where there is steeper competition, contacting the media a month in advance is recommended.

As well, focusing on the local market to which your event pertains would be in your best interest, as the media produce stories that are not only current, but oriented towards their community. Of course, the internet is able to break some boundaries here with sites that, for example, cover cross-Canada events, but generally speaking targeting your media efforts specifically for each city to which your band tours is a good idea.

Which medium to target
The choice as to whether you solicit media attention from print, radio, or television will largely depend on a) your event’s target market (all ages, 19+, charity orientation etc.) and b) the size of the city to which you are touring.

I personally think that there is no harm in contacting as many media outlets as possible per city as a multitude of coverage will only help with promotions. The more often that people hear about an event, the more likely it’ll peak their interest, and resultantly, they will be driven to seek out more information, if not attend to see what it’s all about. So, when it comes to soliciting media attention, I adopt the popular adage, “go big, or go home.” There is no such thing as too much coverage, but there certainly is such a thing as too little.

The other thing to keep in mind is that if you are touring to foreign territory, it is doubtful that you will be apprized of the media habits of your target market. Therefore, if you contact all outlets, it’s a safer approach as opposed to attempting to guess which ones appeal to your audience.

However, by saying this, I’m not recommending that you bombard every media outlet in each city. You need to ensure that you are only contacting media outlets that provide coverage to artists to whom you are similar in genre, otherwise, you will be wasting your time, and irritating potential contacts.

Have a direct contact
When contacting a media outlet, make sure you do your research and know who it is to whom you should be speaking. Magazine, radio and television outlets have large staffs, and if you send out a generic email through a contact form, your message will either be ignored, or fittingly, you will be provided with an automated response. If you don’t take the time to personalize, why should they? Although writing personalized messages to direct contacts is more time-consuming, it is well worth the effort.

In terms of who you should be contacting for coverage, for magazines, your approach should be directed towards the music editor. Similarly for TV and radio, you should be contacting the station’s music director. Coming across a music editor/director’s email and/or phone number is typically easy given that most media outlets have official websites with staff directories. In this event, this sort of information is not provided online, hey what are phonebooks for? All it takes is one simple call to inquire as to who is in charge of music promotions for your desired media outlet. You’ll find that little bit of research will go a long way.

Please remember that these editors/directors have worked hard to earn their placements in such high profile careers. Thus, a direct approach in which you know their first and last name, and can demonstrate a bit of knowledge in regards to their outlet and the coverage it provides will speak volumes in terms of your level of professionalism and they will be more likely to consider your request for exposure seriously.

Know what you want
Keeping in mind the importance of media research, one should be aware of the different kinds of exposure an outlet offers and what your desired coverage is prior to solicitation. Be clear in your message. If you want to do an interview, say exactly that. Your message should be short and to the point, but detailed enough to grab their interest. Tell them who you are (including a brief list of notable accomplishments), what you want (interview, feature, or review and how it relates to their outlet), how they can contact you, and where they can find out more information on your act if required (links to your official site, Myspace, and/or EPK).

Press Kits
Sending out press kits need to be done in a highly strategic fashion in order to create an impressive, and attractive press kit, it requires a lot of time and effort. Furthermore, mailing them out certainly does not come cheap. So, I advise you to NEVER send out a press kit without previous contact and a direct request from the outlet to do so. It’ll either end up in the trash, or worse, your band could become the victim of a vicious attack.

You will find (if you don’t want to take my word for it) that music editors/directors will often feature unsolicited material in their cd review segments which often proves to be a less than desirable experience. Reviewers are more apt to tear apart bands with who they have had no prior contact because let’s face it, to them, your act is merely just another band to which they will feel no guilt for slamming as a relationship has not been established. Even if a reviewer is not totally keen on your band’s music, you will find their reviews of your cds will be much more positive if, for example, you’ve conducted an interview with this individual.

Another thing to keep in mind is that reviewers are human and thus temperamental. Another reason as to why you could become a victim of a heartless review is because well simply put, they were having a bad day, and you’re music didn’t appeal to their current state of mind. Again, a way to prevent this unfortunate experience from happening is to ensure that any CD review you solicit is accompanied by an interview/feature in which the reviewer is able to put a face and personality to your band.

Remember, media relationship building is important, as citizens turn to the media as a truthful unbiased source of information. It’s called “reputation management,” and not only is press solicitation a great way to garner the attention of new fans, and promote appearances, but it certainly looks good on the resume and attracts industry execs. Just make sure that when you seek out promotional opportunities, you maintain control of the coverage because once you send out unsolicited material, it’s like feeding yourself to the sharks.

When it comes to making or breaking an act in the music biz, a philosophy that I have come to fully embrace explains that in order to obtain success, the first step begins with not being afraid to ask others for what you want. Afterall, the worst they can say is “no,” but if you never ask, you’ll never know what possibilities are at your disposal.

When I say “others”, I’m referring to bookers, labels, potential sponsors, and the media. You will learn quickly that essentially those within each of these career disciplines operate similarly, and thus, one’s approach to garnishing media exposure parallels that to one’s request for a show at a particular venue.

Just like Canada’s high profile clubs, notable media outlets such as Chartattack Magazine, Edge 102.1, or MuchMusic’s “The Wedge” are bombarded with press kits, cds, emails and telephone calls from bands from all over the world at varying career junctures looking to get their 15 minutes of fame. Like venues, media outlets need to first and foremost consider their audience and it’s needs. Coverage of stories and/or events is largely determined by what will merit the highest ratings and/or readership (i.e. once again, not surprisingly what will bring in the most profits). Therefore, the likelihood of a noteworthy media outlet providing coverage of your indie act with its humble origins instead of promoting a national touring band’s appearance in a nearby city is slim to none. However, this is not meant to discourage you.

Eventually, after your act has proven themselves through a lot of hard work and persistence, these forerunners of the media will come to you. But, in the meantime, don’t disregard the multitude of local and internet based media outlets that are more than willing to provide “up and comers” with exposure. Getting your name out there in the papers, on TV and radio, irrespective of whether the media outlet is a major publication, or just some guy with a website who thinks he knows how to review cds, is essential to the success of any band. Just as the old adage states, “there’s no such thing as bad press.”

Not only is it advantageous to have several quotes from various press outlets on your resume, but you never know who is reading or looking at what. The greatest thing about attaining media coverage (especially through the internet) is that it allows you access to a worldwide audience. Consequently, a band is able to establish fan bases in areas to which they have yet to tour.

For example, my band’s debut album, “Unpretty” is currently receiving rotation from countless radio stations and podcasts anywhere from North America to England to Japan to Brazil. As a result, we receive fan mail and merchandise orders from all over the world, none of which would be possible without the support of the media.

When subject matter is given consistent coverage by the press, it becomes legitimized. People in general, have a tendency to take a liking to aspects of popular culture just because of the fact that they are popular. If your act is continually able to keep its name in circulation, people will perceive it as being popular, and thus will have a natural inclination to “jump on the bandwagon.” In other words, if you act like a rockstar, people will think you are a rockstar and treat you accordingly.

Though, as I’ve mentioned there are many positive outcomes to attaining media coverage, bands with little experience in this area need to be on their guard at all times. Despite how nice reporters may seem, at the end of the day, they are looking for a story and scandals always sells the most. Therefore, I suggest that you are careful about what you say and to whom it’s said.

Though becoming a media charade has worked in the favour of artists such as Marilyn Manson (without bad press, he’d receive no press at all), having your words twisted, misquoted or skewed to fit a reporter’s agenda is not a fun experience and could potentially be damaging to your band’s career. You can rest easy in knowing that it is illegal for reporters to fabricate stories or make slanderous remarks against you. However, this does not mean that they won’t dig deep to find the perfect angle.

I think it’s important to be honest if the media attempts to reveal the skeletons in your closet. But, remember there’s a difference between speaking with your best friend and speaking with the media. In terms of blatancy, never say more than is absolutely necessary and always attempt to maintain the focus on your act, not your personal life.

As mentioned in my last column, if you’re feeling rather ambitious and up to the challenge, a final means of getting your act booked would be to propose to a club owner/booker that you would like to put together your own show. But, as I previously stated, I only recommend this option to bands that are experienced, have strong followings, and know how much hard work is required in order to do so. In addition, I recommend that this option only be presented to bookers with whom you’ve worked before so that you are aware of their expectations.

Often established acts will find themselves at the request of various charities wishing to put together fundraising events or if your act is planning a special event to co-ordinate with the release of a CD or a music video, putting together your own show for each of these options would be in your best interest.

There are definitely a lot of great advantages with lining up your own bill, and outlining the details for the night, but don’t be fooled into thinking it’s an easy task. I can tell you from personal experience, no matter how hard you try to cover every detail, last minute issues will arise, and/or there will be something you have forgotten. Therefore, I recommend starting early.

Compliment your sound & make your whole show strong
Sometimes having extremely diverse variety-type shows can be effective if an event is being put together by a large organization or a festival. However, when it comes to local rock shows, I recommend that you do not stray too much from your own sound. Booking solid openers that are unique, but complimentary to your act would be in your best interest.

When crowds come out to see a specific act, it’s because something has caught their attention about that band’s music and/or performance which has lead to the development of their following. Bookers, taking note of a strong act, will usually book lesser-known support acts with which the strong act shares a similar sound. The rationale behind this strategy is simple: the fans of the strong act will be more likely to enjoy a support act if the genre is relatively the same. Hence why you don’t see many concerts with a jazz band opening for an industrial group, because it will likely divide the audience.

The other point to take into consideration when booking acts on your bill is their draw. I know there’s a tendency to want to book your friend’s bands (who may or may not be established), but at the end of the day, you need to ensure that your show overall will be strong.

I think it’s fair to have a couple of newer bands as openers for the show as it would give them a chance to expand their fan base, however, make sure that you aren’t relying on a solitary act to bring out all of the people.

Usually when I put together shows, I book four to five acts a night. The opening act is often a friend’s band that is from out-of-town with little to no draw. However, the other four acts on the bill (my band included) are established in the area and can make up for the initial band’s lack of contribution to the crowd. I always give the headlining spots (the last and second last set times) to the strongest acts on the bill, as you want to ensure that each band will have a decent crowd to whom they can play.

Make sure to leave your ego out of the decision making process when you’re devising the band schedule for the night. If you’ve booked an act that has been established in the area for 20+ years, the headlining spot indefinitely should be theirs, NOT yours just because you booked the show. It will still be recognized that it’s your show as you did all the grunt work, but if you would like it to be the best night possible, know your bands, their capabilities, and book their set times according to such. Also, knowing when each band’s crowd usually comes out should be taken into consideration.

Choose your venue wisely
The setting and atmosphere need to be appropriate for the music genre, but as well keeping the crowd capacity amount in mind is important. Estimate a realistic figure in terms of attendees for the night based on each act’s average draw. Depending on that amount, you’ll be able to more accurately find a place that suits your show’s need. 100-200 people may be a strong turnout depending upon the event, but if you are playing at a club that is designed to accommodate crowds on the upwards of 800, then the place will look empty. A smaller more intimate venue would be more appropriate in this scenario. Giving the appearance that the place is packed will do wonders for impressing bookers, and you’ll find yourself likely to get more show opportunities in the future.

Selecting the date
Obviously setting the date may not entirely be your decision if you are putting together a show on behalf of a non- for-profit organization. However, if they have left the details up to you, you will likely have some influence. Before agreeing to any specific date, do your research. Know which club you have in mind, and when their crowds are usually the strongest.

For example, I have found that crowds at Call the Office are often larger on Friday nights then Saturdays, even if the bills for each night are equally strong. As a consequence, when hosting my own shows there, I always request Fridays.Of course there are strong clubs, such as The Bovine Sex Club (Toronto), that seem to have a built in following for every night on the week. Therefore, selecting a weekday will not necessarily put your show at a disadvantage. However, selecting the date of your event based on your chosen venue’s crowd alone is not enough. You need to know your competition.

When my band was touring the States this past summer, we had so many shows going on month to month that keeping track of holidays and other events that fell on the same night as our appearances became overwhelming. As a consequence, we unknowingly booked an appearance in St. Louis at a local bar just down the street from where a Rancid concert was taking place. Luckily for us, the support acts with whom we were booked were very strong, so we manage to play to a decent-sized crowd. However, we can only imagine how much the larger the turnout would have been if Rancid were not playing that night. Therefore, being aware of shows offered by other popular venues that may compete with yours is of the utmost importance.

Realize that the regular bookers/promoters of clubs will have a stronger means of promoting their events. So, if you are scheduled to put together your event on the same day that the Taste of Chaos tour is coming to the JLC, again, suck up your pride, and choose a different date or else your show will suffer the consequences.

Make it quick, easy and painless
There is nothing worse than an unorganized show that requires fans to have to wait around for long periods of time while each band tears down and sets up their equipment, and runs through a sound check. For the benefit of your soundman (he’ll appreciate it, trust me) and your fans, stick to one backline (drum-kit, minus breakables and a bass amp).

Obviously selecting equipment that is compatible with each band’s requirements is important, but usually the standard practice is that the headlining band will provide the gear for each act to share. Some liability issues can come into effect here, so make sure it’s crystal clear that if any of the support acts damage the headlining act’s gear, that support act will be held responsible for the replacement charges.

Another suggestion I offer you in terms of making your show run as smoothly as possible is sticking to the club’s already defined parameters. If on average, the venue at which you are hosting your event runs all ages shows with five-dollar covers, your event should follow the same format. Regular club audiences often do not bring more money with them outside of covering the cover charge and/or their drinking expenses. If suddenly, the cover charge is raised unexpectedly to even seven-dollars, it may cause people to become frustrated, and worse, denied entrance because they didn’t plan for such. This situation can be avoided if your show’s cover is advertised well on all promotional materials, however, I still recommend sticking to the club’s typical practices as a means to avoid potential angry customers.

Give them plenty of notice
Last, but not least, give everyone involved plenty of notice. I recommend drawing up a schedule of the night, and notifying everyone involved at least two to three weeks in advance. Be as detailed as possible. Make sure you mention which act will be providing the backline (outlining the make and style of the equipment), what the cover charge is, each band’s set time, when doors open, how many people are allowed on the guest list (if applicable), how much time will be allowed for changeovers, where bands will be allowed to set up their merchandise, band payment etc.

Try and answer all the questions that you anticipate arising. Not only will this help to avoid last minute conflicts, but as well, it gives each band, and the venue plenty of time to advertise your event. Make sure to provide all those involved with a method to contact you if there is a problem.

Along with outlining how you would like the night to go, tell everyone involved what you expect of him or her. If ticket sales are required, each band needs to do their part. Remember it’s your reputation on the line, and your show’s success is a reflection of how hard your band works. Tell each support act what’s required of them, and keep on their asses to make sure they keep their promises.

Aside from the option of hooking-up with a strong local act as a means to book your initial gig, a band may also consider the following options: a) working with promoters b) contacting club owners directly or c) putting together a show themselves. If you choose to undertake the last option, I warn you that it is an extremely time consuming and stressful process, and sometimes can even cost money out of your own pocket. In addition, if you don’t deliver on your promises to the venue (such as fulfilling X amount of ticket sales), you could very well find yourself being out of a place to play. I only recommend this option for bands that have already established somewhat of a reputation and/or have members from previous acts that have done so in the past.

Owners Vs. Promoters
For newer bands, the other two options are much more feasible. So what’s the difference between the two? Though similar tactics are utilized when it comes to contacting promoters and club owners, from my experience, I have found that club owners tend to be more reliable, and sympathetic to the position in which new acts find themselves. As well, club owners have strong insider knowledge of their venue’s regular crowd, as well as the acts that draw well to the club. Therefore, if you request to be slotted onto an already established bill, it more than likely will be a decent show.

Promoters, on the other hand from my experience, often will try to screw you in any way possible. Now this is not the case in all situations, but I do suggest if you decide to work with independent promoters that you issue contracts that outline all of the necessary gig details along with the promised compensation. So, in the event a promoter tries to give you the runaround, you have legal proof that they agreed to the show’s details. In addition, prior to working with a given promoter, I recommend that you contact bands with which they have previously worked to inquire as to how their events have run in the past. Generally, they charge club owners flat fees for their services so regardless of whether the show turns out well, they get paid the same amount. Unfortunately for bands, this often results in poor treatment and a lack of consideration.

The Approach
As far as the initial approach goes, bands once again need to take into consideration that this is a highly competitive field, especially if you are looking to get shows at the top rated venues. If you are a new act, you will need to use every and any angle you can to get yourself booked, whether that be through the utilization of a catchy tagline, an explanation of your band’s diverse influences, an allusion between your band and a renowned artist of the past, name dropping of previous acts from which members have participated, toured with, and/or producers with whom your members have worked... Literally I mean it, anything and everything.

Biographies
But, before you approach any booker, make sure you’ve got a good story to tell. You need to peak a booker’s interest so that they are willing to give you a chance. If your act is relatively inexperienced and you have yet to record any material (yes believe it or not, you can get shows without bookers hearing your music), your biography will become your primary selling feature.

Members of the popular Toronto based band The Antics, went out of their way to paint themselves as rebellious punk rockers that really couldn’t care less what other people thought. In their case, mirroring the attitude of their predecessors, The Sex Pistols, definitely worked out for them.

Promo Photos
In addition to having a biography on hand, most bookers like to be able to put a face to the name. They want to check out your band’s image and appeal, so obtaining professional promotional photos right from the get-go is crucial. Snapping a few decent band shots is quite feasible even without access to a large budget. Many student photographers need to gain valuable work experience and shots for their portfolios. As a consequence, they are apt to offer their services for a minimal fee or sometimes even free of charge. Check out Fanshawe’s photography division, there is some serious talent there.

Music Samples
Lastly, though I did make a little quip that it’s possible to book shows without submitting music to booker, keep in mind that this is a skill, which only an experienced musician who has been around the block a few times will be able to pull off. Therefore, having an audio recording accessible, even if just through a free “Myspace” account will be beneficial as most bookers want to hear your act before they book you a slot. Basically, you need to look at it from this perspective: in this case, something is better than nothing, but DON’T EVER send a burned CD with a paper cover that you made yourself to a booker (so unprofessional).

So you’ve got your act together, you’ve established your name and image, you know your material like the back of your hand, and you’re raring to play your first gig, but no one will book you? Don’t think this is an uncommon problem. Just as the media are bombarded with bands fighting for exposure, club owners and promoters deal with hundreds, sometimes even thousands, of emails and phone calls a day from bands who want to rock their venues.

Once again it comes down to this: what makes your band so special?

Look at it from the promoter or club owner’s point-of-view; if they book a new unknown act, they are putting themselves at risk. There is no guarantee that your act will be able to deliver on its promises, and they can almost be certain that your act will have relatively no draw outside of close friends who may or may not actually dig your music.

Just like record labels, club owners and promoters want to make money first and foremost. Additionally, they need to uphold the reputation of their establishments as being a “hot spots”. Therefore, booking new acts for them is understandably risky business.

New acts can deal with this dilemma in one of two ways:
a) Ask a popular established local artist if you can be their opening act for their next show OR b) Have a strong sales-pitch that will get your foot in the door.

If you chose to undertake the latter option, know this: if you don’t deliver on your promises, you could quite possibly become “blacklisted” from that club and its affiliates. Club owners and promoters pay bands that are reliable and hard-working. If you prove yourself “worthy” in the eyes of a booker, you’ll be amazed with the opportunities they will offer you in the future.

When it comes to requesting opening slots, rule number one is this: be respectful and sincere. Don’t harass every band in the city that has a decent following, especially if their style doesn’t resemble yours in the slightest. It won’t benefit you to play to a pop crowd if you’re a heavy metal act.

Moreover, don’t approach bands that you genuinely dislike. The purpose of opening slots is to gain the support of the larger act’s fan-base. Fans are very loyal to their favourite local acts, and they won’t appreciate it if it’s obvious that you are simply milking the bigger act for what they are worth. Furthermore, partaking in this action is disrespectful to the artists who have made the local scene what it is.

If you plan on building up a reputation for your act in a city such as London, you need to understand that the music scene is very close-knit. Practically everyone in bands knows each other or at least knows of each other meaning that if you piss one person off, you are really pissing off all of their friends who happen to be in bands as well.

Secondly, don’t set your expectations too high. You will most likely not get paid and there is no way your first gig will be as a supporting artist on Metallica’s tour, even if they are from your hometown. I’m sorry if this bursts your bubble, but the openers for nationally touring acts are usually lesser known bands that are managed by the same label. It’s very controlled, and breaking into that territory takes time as an act needs to rack up its bragging rights before a label will consider adding them to their roster.

Instead, aim at “getting in good” with the popular local acts that have “street cred”. This goal is much more feasible, and it is possible so long as you approach them in a professional manner.A commonly used strategy for this purpose is to attend several of the popular local act’s shows ensuring you are seen as a paying supporter. After one of their sets, initiate casual conversation with the lead singer (almost always the one in charge of booking shows) as a fellow musician, NOT as a fan. Tell him/her how much you enjoy their music and performances (a little ego stroking never hurts, but don’t go overboard), and then further go on to explain about your new act, and how you would be honoured to share the stage with them. Make sure you swap contact information so that you can later remind them of your meeting. Also have a demo on hand to offer them free of charge, or at the least a website link through which they can check out your act. Above all, remember to follow-up. Popular local acts are approached by several bands requesting this very favour, therefore if you really want the slot, show them. They certainly will not come hunt you down.

If you chose to attempt the second suggested method of approaching a booker directly, make sure you have polished your skills of persuasion. Trust me on this one, it’s all in the pitch.

I’m sure by the very title of this piece that some of you are rolling your eyes at the concept of me providing you with guidelines about how to write sellable music. I will give you this: there is no one-to-ten detailed instructional manual outlining how to write the perfect song.

For that matter, I feel that songwriting is an art form requiring a great deal of skill that cannot be mastered by everyone. However, songs that have been able to cross generations, cultures, and time barriers do share some commonalities, which I don’t believe is mere coincidence.

The tunes that make an impact and continue to maintain their popularity 20 years later are memorable for more than just their catchy melodies. The songs to which I’m referring have been repeatedly listed in the Top 100 lists year after year. Though these songs are dissimilar in genre and methodology, what makes each and every one of them able to claim “greatness” is this: simply put, they are extremely well-written, and therefore have mass appeal.

For starters, the lyrical content of said songs tends to prey on social and/or political mentalities/issues that drive a solid point home with the listener. But, the message of each of these songs is presented in such a fashion that it is accessible to even the status quo. Nothing too complicated. Nothing too convoluted.

When John Lennon asked us to “Imagine” a world without violence, poverty, hunger, and religion, he painted a crystal clear picture. He blatantly probed listeners to question their existence, and rethink the structure of society. He ended on a hopeful note stating that he knows others like himself are out there, and he looks forward to the day in which everyone in the world, despite their differences, will learn to “live as one.” The purpose of his song is self-evident: to make listeners question that which is presented to them, rather than just accepting things as they are.

Another strategy of writing strong lyrics is delving into concepts that are relatable on a personal level. Everyone has had a point in their life in which they’ve felt like Mick Jagger: unable to get any “Satisfaction.” Though Jagger is referring to satisfaction in the sexual sense, a listener does not have to interpret the song in that manner because the lyrics remain open-ended enough to suggest otherwise.

Audiences appreciate the opportunity to take a song and apply it to their personal situation. As a consequence, most often songs that encompass complex metaphors don’t become hit singles, because audiences can’t get a grasp of what the songwriter is trying to say.

I’ve found that the best songs out there cover issues that are common and easy to understand. Hence, the reasons as to why we have so many popular cliché love songs. Everyone experiences love, romance, bad breakups, and broken hearts (hopefully not always in that order).

Next, comes the melody.

Writing a song that gets stuck in a listener’s head may seem like an easy task, however you want your melody to be unforgettable because it’s well structured, not because it’s extremely annoying.

I can count several instances in which I’ve had Britney Spears’(sorry to pick on her again, but it’s just so easy) songs stuck in my head on repeat, but it’s not as though it was an enjoyable experience. No one likes a broken record. Although Spears’ songwriters manage to write her material that is “catchy,” it’s not always catchy in a good way. There is a difference between good and bad catchy.

Good catchiness makes a listener want to sing along with the track after hearing only a few short moments, and without knowledge of the majority of the lyrics. Good catchiness also tends to stimulate movement; whether it be head bobbing, toe tapping, air guitaring, or drumming on the nearest object. These are the songs that you listen to loud and proud while cruising down the highway with all the windows open; songs such as ACDC’s “Back in Black” or Queen’s “We Will Rock You.” They are more than just an auditory experience.

And by melody, I’m not just referring to the vocal line. All of the instruments play a crucial part in writing a well-structured song. A great singer needs a strong band to back him/her, just as a talented musical act needs a charismatic vocalist to front them. Therefore, dynamics are of the utmost importance. A band needs to know when to go all out, and when to draw back depending upon what the lyrics suggest. Different dynamics constitute different emotional reactions. Thus, the instrumentation and the lyrics need to be in synch with each other in order to maximize the impact of your message.

Additionally, your song needs to be able maintain the listener’s attention all the way through. Add solos, riffs, bridges, breakdowns, and highlight each of your instrumentalists’ individual talent. Keep switching it up so that the listener becomes entranced, dying to know what’s coming next. But, be careful not to go overboard with your verses, as above all, your chorus should be the section that sells the song.

When it comes to writing songs with mass appeal, writing a champion chorus is by far the greatest feat, and it definitely takes time to master. Eventually, songwriters are able to develop their own style, but not without years of practice and experimentation. Despite this, understanding the following general principle makes it easier to get a grip on chorus writing.

Using as few words as needed to get the main message across, and repetition of words and phrases will make definitely assist in making your chorus a powerful tool. For that matter, some of the best choruses written in history revolve entirely around the repetition of a single phrase such as Alanis Morissette’s, “You Oughta Know.” It’s bold, in-your-face, and straight to the point.

Even if a listener only hears the chorus of this song, the main message Morissette is trying to make is still apparent. Nothing beyond those three simple words really needs to be said. With a single phrase, Morissette managed to write one of the most impactful songs of the 90s, especially for feminists, and one of the best “fuck-you” songs of all time.

The last rule of thumb that I will be discussing in regards to writing strong material doesn’t really come into play, until your group is ready to approach radio stations for airplay and/or record labels for roster consideration.

Few are aware of the fact that the first 30 seconds of a song is the determining factor in terms of whether or not a band gets radio play and/or a record deal. May I repeat, only the first 30 seconds of a given song! You’ll note that this is a very short period of time to grasp a listener’s attention. So, suffice it to say, you better make it good.

If you do manage to present something of interest within that time frame, both station managers and A&R reps will quickly flip through your other tracks to see if it was just a fluke, or if your band has genuine marketability. Therefore, your material must be consistently captivating.

When it comes to creating compositions that have the potential for mass appeal, keeping it simple in all respects predominantly seems to be the key to success. However, I will note that there are always exceptions to these general guidelines, and one can never be certain whether they’ve stumbled upon greatness or failure without testing their material amongst difference audiences to gage opinion. By providing these songwriting principles I’m not trying to stifle your creativity, nor am I suggesting that the only songs that are any good are simple. Hell, I like my Deep Purple and The Doors every now and again. All I’m saying is that if you want your band to have commercial success, you need to buy into this formula to a certain extent.

Irrespective of this, the tendency these days is to release albums with only two to three strong singles. Therefore, if you’re a prog-rocker at heart, you may just be in luck. There’s definitely a market for what I like to refer to as “stoner rock,” but keep in mind, in order for songs of that nature to attain success, they usually need to break in through an underground movement first, which will obviously pose a greater challenge to your band. In addition, they will more than likely require a radio edit that will substantially cut down your 10-minute guitar solos. Though, I do wish you all the power in the world, if this is the route you choose to undertake.

Rather, if you are simply a musician who creates art for art sake, never let these guidelines constrict your passion. They are merely meant to be used as a tool for bands wishing to obtain commercial success, and with that comes financial remuneration. And…let me tell you, there’s nothing better than getting paid for something you really enjoy doing.

Think back for a moment to highschool English class (yes, I know it may be painful for some of you) when you studied Shakespeare’s Romeo & Juliet, and came across the legendary line, “What’s in a name? That which we call a rose by any other word would smell as sweet,” (2.2.1-2.)

Although it’s true that the rose, the object in question, would not physically change if it were to be renamed, the meaning associated with it would be altered. When the term “rose” is mentioned in conversation, various connotations and symbols with which it’s associated come to mind. If this word were to be replaced with another, those meanings could potentially be lost.

Words are more than just letters strung together to create sounds. They evoke emotion and/or action. Therefore, putting serious consideration into your band’s name selection process is essential.

Your band name should be catchy, easy to pronounce, universally understood, but most importantly, it needs to mean something to the band. One of the frequently asked questions in interviews, is “What is the story behind your band name?” or “What does your band name mean?” If there is no rationale behind the choice of your band name, the media may get the impression that you aren’t taking your music career very seriously. Though there are some bands that chose names for their humour or shock value, I honestly believe that there should be something more to it. Comedic value and controversy will only go so far, and being left to explain a lame story regarding your band’s name selection, year after year, will get old fast.

When it comes to band name selection, looking through a dictionary, or thesaurus can often assist with brainstorming, but be wary of deciding upon something without researching first to see if there’s already an established act that goes by that name. If you want to avoid band name hassles, the Internet can definitely help. Conducting a preliminary search in various band directories is a good starting point.

Keep in mind that there are several bands that share the same or similar names. The only time when this will become an issue is when, for example: Band A from Canada decides to tour Europe where another act named Band A resides.

In such a situation, the Canadian Band A legally would be required to adopt an alias when touring that region, or in extreme cases, may be required to forfeit their rights to their band name altogether if reasonable evidence can prove that the European act was established previously, and holds the registration rights to the band name. I’m sure some of you remember the infamous Bush X incident some years back, in which they were required to drop the “X” out of their name because of this very situation.

Unfortunately there is no such thing as a law that can copyright a name, whether it be the title of a book, a movie heading, or a band name. However, band name registration, the next best thing, is widely available. There are fantastic sites such as http://www.bandname.com/, which allow musicians to register their band name in a worldwide directory for a minimal fee.

As the website notes, “establishing prior usage is a key component in protecting your name and unwelcome legal challenges. The Worldwide Registry notifies artists and labels where potential territorial name conflicts exists and registers your historical claim to ‘name’ usage”. Although sites such as one this exist, unfortunately not every band utilizes them or is even aware of their presence. Irrespective of this, I do recommend registering your band name through some avenue because if you ever find yourself in a legal battle, having a paper trail will definitely add credibility to your argument.

As an extension of your band’s name, “tag-lines” (similar to slogans) are often used in association with promotional purposes. These tag-lines are either derived from notable press quotes or they are a summation of how the band wants to be identified by the public. Short and sweet will really win the ticket here, as well as creativity, but be careful not to go overboard. Do NOT state that your band is the best thing since sliced bread. The premise behind tag-lines is to make your band identifiable: to associate a catch phrase with it, that makes you stick out from the rest.

A common practice is to draw a comparison between your band and a well respected/ renowned act of the past with an added twist. If you are unfamiliar with this practice, I can offer you a personal anecdote. My band Anti-Hero has been tagged “The 21st Century Answer to Nirvana” by CoverZone Magazine, USA. The editor of this magazine made an allusion to Nirvana because she feels that our music speaks to youth culture and their concerns, does not follow suit with the current popular trends or conventions, and is unapologetic in its hard-hitting honesty much like Nirvana was in the early 90s. Whether you agree with this comparison or not is up to your discretion, however, it’s become a great promotional tool for us, and we’ve found more often than not, that fans and reviewers alike feel we live up to the reputation.

Establishing a unforgettable name and solid tag-line is really half the battle to managing your band’s image, so leave something with people that they can remember and tell to all of their friends.

As I mentioned last week, it is imperative to understand that a band’s marketing strategies are just as, if not more, important than a band’s musical talent. If you don’t believe me, look at the career of any pop-tart.

Very few pop singers actually write their own material. For that matter, a lot of them can’t even perform their songs live because frankly they can’t pull it off. Their producers should be awarded for their ability to make these untalented acts sound half-decent. But in actuality, so long as the Britney Spears’ of the world maintain nice “t” and “a”, they will remain top selling artists. Why? Well, it’s no secret that sex sells.

By stating this, I don’t want you to misinterpret me and believe that I am suggesting that bands should buy into this mentality marketing themselves solely based on their physical appeal. Quite the opposite really. I loathe this practice, and feel it is extremely unfair that these perfectly marketed commodities often overshadow artists with genuine talent. However, it must be recognized that the record labels which chose to represent such acts use everything in their power to sell them and it works, regardless of the fact that these are “musicians”, who for the most part, can’t even play an instrument.

It’s definitely an oddity that we have models posing as musicians within the artistic world as this kind of pretentious imitation does not occur amongst painters, sculptors, writers, or the like. They are the real thing. DaVinci didn’t have an artist behind him creating his masterpieces while he stood as the undeserving poster-child receiving all the credit. However, it must be taken into consideration that this is not a new trend. For that matter, pawning off relatively musically talent-less acts purely on their sexual attractiveness dates back to as early as the days of Elvis.

Though some may curse me for saying this, “The King of Rock’n’Roll” was the precursor to the Britney’s of today. Though he could dance, and sing to a degree, what broke him was his physicality (largely due to the advent of the television). As well, the prevalent racism towards the black artists of the time assisted his career greatly, while leaving true talents, like Chuck Berry, under-recognized for their significant musical contributions.

Did you know, for example, that Elvis never wrote a song throughout his entire career? Thus, how can he be deemed “The King” if he wasn’t even a musician, but rather a cover artist whose material was stolen from and uncredited to the talented African American songwriters of that era?

My rationale for explaining all of this is as follows: I want to make it clear that truly talented bands need to use everything they’ve got in order to stand a chance against these acts. Record labels don’t have a conscience when it comes to marketing: if they can find something that sells regardless of the scandals potentially attached to it, they will utilize it. In the end, the ability to make money trumps everything.

Though I do not promote partaking in immoral or illegal activities when it comes to making a name for your band, I do think that a band’s marketing is not a subject that should be dealt with lightly. Though these aspects are often overlooked or unconsidered, it’s important to realize that a band’s fight for fame begins by defining a meaningful name, strong image, and an identifiable sound.

Every band participates in spamming random individuals regarding their album launches, creating mass mailing lists to keep their fans informed, adding their touring plans to website directories, and putting up wall-to-wall posters in their downtown districts for local gigs.

Depending upon a band’s experience, and allotted promotional budget, the level of sophistication and quality of their practices may vary, but essentially, all bands, even those with representation, employ these tactics in order to self-promote, build their reputation, and attain recognition.

Why? Because if executed properly, they can work. However, it must be taken into consideration that the primary target market for bands, the youth generation/concert goers, are being bombarded by thousands of these messages each day through every possible medium. Understandably, media avoidance and desensitization are common. Therefore, recognizing how to make an impression and stick out from the rest of the pack is essential for success and survival. Getting your name out there has become an art-form in itself.

Within the constant haze of advertisements that pervade every sector of our lives, there are sometimes moments in which you will stumble upon a poster, or an event listing that really catches your eye. Somehow, amongst the clutter, an ad was able to make a statement, grab your attention, and maintain interest in order to get its point across.

There are various schemes that advertisers undertake in order to ensure that their message will be received such as: preying on human emotion, appealing to archetypes, and implementing dramatic effect. Regardless of which avenue advertisers choose, all of these methods share a common bond: they make ads memorable. This is important because if a company’s promotional materials are memorable, it will more than likely spark the interest of consumers which in turn creates a rise in profits, resulting in success for the organization.

So how does this relate to marketing your band? Simply, the same approach needs to be implemented. The first thing a new band should ask itself is, “What makes us unique?” If you find yourself struggling to find an answer to this question because your music, image, and name all play on the current “flavours of the week”, then I hate to break it to you, but your act, if success is achieved, will probably end up becoming a one-hit wonder. There is only so much room for copycat bands in the industry, and eventually, even the best of trends lose their popularity. The surviving bands are those that are able to reinvent themselves, they are not the acts that just “jump on the bandwagon” as it were.

However, if your response to this question replicates the standard, “We are like nothing you’ve ever heard before” - again, you are deluding yourself. By default, every original act produces something “original” because individual influences, member collaboration, and the creative process is varied in nature, but everyone is influenced by someone or something of the past. For that matter, it is impossible to be aware of every artistic movement that currently exists or has taken place across the globe. Even if you can’t think of another act to which you are comparable, it does not mean that they don’t exist.

Still, several bands market themselves in this fashion, and unfortunately for them, they are sooner or later called on their shit.

So how do I come up with a creative marketing approach? Easily, you just need to put some thought into it.

1) Consider your band’s name, image, and sound carefully. Each of these components can make or break a band. Therefore, not only should their inspiration be creative, but as well it needs to be meaningful (more on this next week).

2) Avoid typecasting yourself into a certain genre as it may deter listeners from checking you out. Allow your audience to develop their own perceptions by providing enough information so that they are intrigued, but not so much that they will end up feeling as though there is nothing left to uncover.

3) At all times, act professional because word of mouth is one of the most powerful forces in this industry. Be aware that effective self-promotion is not only a viable means to expand your band’s fanbase, but as well, it can often grab the attention of the industry’s movers and shakers. This industry is all about connections, therefore maintaining business-like conduct in all situations is crucial. (You never know who you might meet.)

4) Most importantly, be respectful and appreciative of both your fans, and any media outlet that provides you with coverage. Your fans allow you the opportunity to go on tour through the purchasing of your merchandise, and the media allows you to reach worldwide audiences that you cannot on your own.

Remember you need them in order to exist, but they don’t need you.

Before your guitarist strums their first chord, and your singer utters their first note, a few loose ends need to be tied up in order to make your band a viable business. Though this is a step in the process that is often overlooked, I cannot stress its importance enough.

As I stated before, when money gets involved, everything changes. Thus, creating a band contract is not only a good way to protect everyone’s rights and contributions, but as well, can serve as a means to avoid conflicts about profit-sharing in the future if they do rise (and they will). Although costly, I highly recommend involving a lawyer to ensure that your contract is legally sound.

Your band contract should outline the following: Everyone’s responsibilities and/or roles within the band: not only is it pertinent that each member’s musical role is expressed, but as well, any management functions taken on by members need to be mentioned.

Second, it’s important to establish both songwriting shares as well as song ownership. Often these categories overlap as the greatest percentage in both respects is usually accorded to the member who contributed the most. Songwriting shares refer to the division of royalties for song publishing (i.e. when a track is selected to be used on a movie soundtrack, royalties are allotted to the composer each time the track is played).

Thirdly, continuing on the subject of compensation, a system of profit-sharing needs to be devised to establish the division of funds produced from the sale of merchandise, and cds, as well as the division of gig earnings. Within this section, it is important to note that no profit-sharing should take place until all debts incurred are paid off. Furthermore, a contingency plan should be put in place in the event that the band remains unprofitable. If investors are involved (a subject which I will address later), it is essential to mention that a ) they will be paid off first and foremost and b) if the band remains unprofitable, no member(s) will be held accountable for the investor’s financial losses. All remaining assets, if any, are to be divided accordingly to each member’s contribution.

Last, but not least, ensure that you include a clause which outlines the appropriate measures to be taken if for any reason a band member is terminated from the group, and/or if a band member chooses to resign from their position. Behaviours that would result in expulsion from the group must be explained. Regarding the latter, your agreement should also outline a member’s entitlement if they willingly chose to leave the group.

These and all of the aforementioned parameters are up to your discretion, but above all, ensure that all members understand, and agree to comply with the contract. Provide each member with a final copy that is signed by everyone, a witness, and your lawyer.

Along with establishing a band contract, it is necessary to create a band fund to which all members contribute equally and regularly. A band fund is used to cover travelling expenses, merchandise/cd manufacturing, recording and production expenses, promotional fees, and any unexpected costs that come up along the way.

Initially, a system should be in place that requires each member to contribute a nominal amount on a weekly basis: $15 is usually a good starting figure as it is quite manageable, and as well, it will add up quickly. Weekly contributions should continue until the band is able to self-generate funds either through merchandise sales, and/or gig compensation. It may however, be in your best interest to continue weekly contributions as often unanticipated costs come up, promoters fail to follow through with their promises, and there will be many times your band plays show in which your expenses outweigh the profits. Thus, being prepared for the worst case scenario is always a great piece of advice.

As all members of your band have a stake in its future, it is only fair that everyone contributes in each aspect. I’ve witnessed many bands fall apart due to a member being disgruntled because they have taken the onus upon themselves to pay for all the merchandise, and gas expenses, yet their fellow members expect gig money to be divided evenly. This is a system that will undoubtedly merit problems in the future, and if I can offer you only one piece of advice that you chose to heed, let it be this: do not under any circumstance divvy up money after shows.

Let’s say you have a four piece act, and you get paid $50 for a show. If you chose to divide this money, that would mean each member would earn $12.50 for their time. Most likely, if the division of money takes place directly after your performance, these funds will go towards buying a few drinks. The problem with this scenario is that the big picture is not being realized. Twelve dollars may not be a large sum of money individually, but $50 collectively could determine whether or not you are able to accept your next out-of-town gig offer. So long as all members maintain jobs outside of the band that assist them with covering their own personal expenses, this system should work quite effectively.

To most musicians, I’m aware that the notion of creating both a band contract and a band fund sound as though I’m speaking in a foreign language, but trust me on this one, it is necessary, and you will thank me for the suggestion.

In my first group, neither of these ideas were implemented. Consequently, it not only lead to frequent problems, but as well, it resulted in one of the messiest breakups that I’ve ever encountered (note of course that I’m including all of the idiots that I’ve dated in that analogy).

Though I know it sounds like a fabulous idea to form a band with your closest group of friends, I strongly advise against it for a number of reasons. First and foremost, I’m sure all of you, at some point, have heard the old adage, “Don’t mix business with pleasure.” I said it last week and I’ll say it again, as much as musical purists, such as myself, would like to believe that the music industry is actually about music, at the end of the day, it is a business; therefore, professionalism is essential.

When I formed my very first band, back when I was 15, I was psyched to be pursuing my dream of becoming a rockstar with my three best friends alongside. To make a long story short, I will never a) be in an all girl band again or b) work with people with whom I’ve established long-term friendships. My reasoning behind both decisions; too much drama.

As with any successful business venture, one person within the group must have a take-charge attitude that naturally places them within the leadership role. Most often in bands, I’ve found that the leaders (those in charge of management, bookings, promotion, scheduling) are usually the front person of the group as they have a natural inclination to direct others. As well, when taking on the leadership role, one must realize that along with the good comes the bad. You will be the center of attention, but you will also be the one at which all of the criticism is directed. It is not an easy role, and I do not recommend it for those who are thin-skinned.

The reason as to why this kind of setup is in conflict with having friends in your band is fairly self-explanatory. Although there is respect among friends, it is difficult to think of someone within your clique as being “the boss” as people form friendships with those whom they feel are at the same level as them. As well, friendships are usually quite casual, and easygoing in terms of interaction, whereas business settings demand an authoritative leader/compliant worker-type relationship in order to function most productively. I’m sure you can understand then why conflicts easily arise in this scenario, and why I don’t recommend it.

So now you’re probably thinking, forming a band with complete strangers, that’s going to be odd and uncomfortable as musical expression is a very intimate personal thing? I agree. Initially, things will be a little sketchy until everyone gets a feel for each other. Ground rules will need to be established, a leader must be elected, and you will need to figure out everyone’s capabilities and how each member works the best. However, once you get past the initial stage of awkwardness, working together will be a breeze.

I’m sure your next question is, “How do I find the right people?” With the advent of the Internet, there are tons of valuable resources for musicians such as Overhear, Kijiji, and Facebook which allow free classified ad posting for that very purpose. For those of you who do not have regular access to the Internet, posting ads in local music stores remains a popular means of networking, along with mingling at concerts. On the same note, with the growing popularity of university programs in the vein of Music Industry Arts, finding musicians is easier than you can imagine. This does not necessarily mean you will find the right man or woman for the job right away, however, most urban centres are buzzing with local talent, you just need to look in the right places.

So what do you look for in a potential band member? Most importantly, your goals need to be in check. Everyone in your band needs to be on the same page, at similar talent levels and willing to make a huge commitment. Another quality, which is often overlooked, is image. You need to have a look, a style, something that will work for you as a trademark in terms of marketing your act, but I will get into that more at another time.

Lastly, I recommend that finding people at the same age and maturity level would be in your best interest. Younger musicians tend to have more extracurricular activities in their lives, and often their parents are not thrilled about the idea of them forming a band. Also, in the future, when you are ready to book shows, having an underager in your act could pose some problems. Working with musicians that have ten years on you, has its downsides as well however.

Older “seasoned” musicians usually expect monetary compensation for their time, have little tolerance for bands that are still trying to get their act together, and from my experience, seem to have a preference for playing in cover/tribute bands.

I believe the key to success in this industry is finding the right people that you can work well with. There are tons of musicians out there, but not a lot of good ones (and by good I am not referring to musical abilities).

It cannot be debated that every band definitely requires a strong leader. However, even with a strong leader, if the other members are not just as focused, and determined to make it, it’s not going to happen. Respect, professionalism, and teamwork are essential, and if you can achieve this kind of relationship among your best friends, all the power to you, but remember this, money changes everything. The moment your band obtains even the slightest degree of success, your friendships will be put to their greatest test.

I thought I had it all figured out. An idealistic, and talented, musician with over a decade of training, I am someone who thought that talent, passion, and the desire to write inspirational lyrics and social commentary actually mattered.

My name is Rose Perry, and let me tell you that there is no such thing as an educational program that can ever prepare you for the harsh reality of how the music industry actually functions. Furthermore, no longer does a prerequisite for talent exist in order for you to be a successful top-selling musician. Just as any other business functions, at the end of the day; money talks.

You may be the greatest innovator and songwriter since John Lennon, but if you can't sell 10,000 CDs without label support, good luck and God-speed. However, if you do manage to reach this unreasonable (and impossible for most) expectation, don't fool yourself into thinking that your hard work is over.

One of the biggest misconceptions about the music industry is that once you are signed, your work ends. Wrong....it gets harder, because now you are competing in the big leagues with bands who are not only signed, but have full time publicists and booking agents working around the clock to get their name out there.

Oh wait... I'm sure you thought that a label would provide you with a booking agent and publicist once you signed a contract with them right? Wrong again.

If you want to be successful on any level in the music biz, the first thing you need to realize is that NO ONE, and I mean no one, will work harder than you on promoting your music and/or band. So, if you don't have much of a work ethic, I suggest you pursue other interests.

Secondly, if you think that being a musician will lead to immediate gratification and financial remuneration, you couldn't be more off, especially if you are an original act. Believe it or not, in general, cover and tribute acts (without representation) are compensated about 10 times that of an original act for a single show. While you are out there trying to sell yourself, and your music to a often less than interested crowd for a measly $50 a show (often your compensation fails to cover expenses of getting to the gig, there are times in which you receive nothing at all), tribute acts are successfully selling someone else's music and image.

I also suggest all the band members have jobs on the side, because I can guarantee there will be no way to substantiate everyone's lifestyles off the petty amount of compensation you receive from shows.

Again on the subject of making money, I know that everyone has seen at least one biography program on a rockstar that made it to the top effortlessly and in a remarkably short period of time. However, what you are viewing on these programs is what the record labels want you to believe, NOT the actual truth. In order to attain a position of financial and career stability (of course, it can never be entirely stable), musicians often work for 10 - 15 years and then finally, just when they think they've had enough, they break.

But in saying that, there is always the risk of becoming a one- hit-wonder. As I said, labels, plain and simply, just want to make money, and musicians are a dime-a -dozen. Don't think for a second that they care about your integrity, dignity, or the longevity of your career. If a label can make the most profit off of one single, than that is the route they will take.

Music is one of, if not the most, cutthroat industries in existence, and you will have to fight tooth and nail the whole way to get to the top. It is not for the weak of heart, and many will fail along the way, because it truly tests your limits in every sense of the word.

The word "fair" does not exist in this industry, nor does "honesty." Promises are broken everyday, and as I said before, I cannot stress enough how important it is to realize that the music industry functions as any big business.

If you are not marketable (i.e. labels cannot make money off either your music or your image), you will not be successful, especially in the age where labels have less and less money to invest in new projects, due to their substantial losses from internet downloading. Music industry execs don't want to take risks with something that may or may not sell. Hence, the reason why you see trends constantly regurgitated (they've worked in the past, they will work again mentality), and why next to every band on the radio sounds the same.

Put it this way, it's easier to sell the public a carbon copy of something they already like, than to change their minds, and introduce something new.

So, if you can handle all of this, and swallow your pride, I suggest that you do, because there is nothing more fulfilling than pursuing a dream that is close to your heart. I will also contest that anything that is really worth fighting for, will never be easy. But, please heed my advice, take it from someone who has been there, it's an ongoing uphill battle and everything you can imagine and more will occur.

My goal in writing this column is to share with other aspiring musicians what I have learned from my experiences, and hopefully help others avoid making the same mistakes that I have made.

In saying that, I would like to invite YOU (the readers) to contact me if you have a question or subject that you would like me to address in an upcoming issue.