Please Listen To My Demo

www.PleaseListenToMyDemo.com

Recently I was browsing the Internet, in an attempt to discover what type of tools there were out there for artists looking to get their music heard. Then on a fluke I came across the web site www.PleaseListenToMyDemo.com. Here on the site they promise individuals that they will rate songs and give feedback from industry insiders. This was extremely similar to promises offered by the Akon endorsed Digital Hit System or DHS. Considering the fact that we here at the Music Casting Network are aiming to also fulfill a similar void in the market. We felt that it was only right to fairly assess other tools of the same nature.

After taking the bait I reviewed the information on the sites ‘about’ section. It turns out this company also took the route of acquiring a marquee name to help solidify their movement. However, rather than using an artist (which may have resulted in mixed reviews) they chose one of the most notorious urban music executives, Chris Lighty. According to the site Lighty has been an instrumental factor in the careers of many of hip hops elite.

“In an era when label CEO's drop albums, romance pop-stars and parlay their mogul-dom into multiple endorsement deals, Chris Lighty, CEO of Violator Management, is a bit of an anomaly. Since 1989, his company has been stealthily creating strategic multi-million dollar opportunities for its artists' – among them 50 Cent, Mariah Carey, LL Cool J, Diddy, and Soulja Boy – in the areas of film, television, advertising, sports and finance” (www.pleaselistentomydemo.com).

You can read more about Lighty at http://www.pleaselistentomydemo.com/about/

While the site offered a very influential name drop with Chris Lighty, the set backs were evident as well. They were not able to point out any known success stories attributed to the network. Aside from, that the $10 per song submission fee served as the sites own deterrent.

Hit Lab Competition

Recently world-renowned recording artist Akon took part in administering a competition. With the use of various social media networks, he was able to spread the word of this event extremely fast. His promo for this activity began with a simple video uploaded to the popular media based site YouTube. Then linked was linked to his various other social pages to create a platform.

Watch the video here:

In his video he briefly explains the motivation behind the competition. However what isn’t highlighted on the surface is the utter amount of self-interest being also at play. By masquerading his motivation as an “opportunity for emerging talent” he also finds an added outlet to continue his brand.

The contest allows artist of all genres to submit songs into a database coined as the DHS (Digital Hit System). Then, the machine (which is said to be incredibly accurate) calculates the hit potential of the entree. Ultimately, the winners of the competition are flown out to the Grammy’s to walk the red carpet and perform their music on national television.

For complete rules: http://www.facebook.com/hitlab?sk=app_271786972853587

While reading the guidelines and (possible) rewards even the most skeptical of individuals would be enticed. How ever from a marketing perspective one must display complete amazement. In one deadly swoop this company has established a market, locate a fan base and ultimately secured a brand.

An avid reader of “The 48 Laws Of Power” by Robert Greene, I feel these guys have (and continue to) exemplify a number of crucial laws in their attempt to solidify themselves as a reputable company. The fact that they were able to down play the notion of brand promotion (of DHS) and focus on the opportunity being was pure genius.

Law 3

~Conceal Your Intentions~

Keep people off-balance and in the dark by never revealing the purpose behind you actions (Green 2000).

Reference:

Greene, O., & Elffers, J. (2000). The 48 laws of power. Penguin Putnam.Retrieved from http://books.google.com/books/feeds/volumes?q=0-14-028019-7

Why to Believe In Others

My Experience @

www.TED.com

Site Overview

Today I was rather inspired by a new site I had the pleasure of experiencing for the first time. Upon my initial visit this page struck as just another video sharing site extremely similar to the other dozen or so popularized video sharing sites (and or dot com’s). However, after further review this would not at all be the case. It turns out the sites administrators examined the advice given by the Ries’ in their book The 22 Immutable Laws Branding. “…when you narrow the focus to such a degree that there is no longer any market for the brand? …This is potentially the best situation of all. What you have created is the opportunity to introduce a brand-new category” (Ries & Ries, 2002). As a result, of narrowing their database to solely motivational material (or in other words Ideas Worth Spreading), they were able to help themselves create brand distinction.

Best of The Web

One of the more unique features of the site is the organization of themes. Within these subsections they provide a category entitled “Best of The Web”. From lectures at little-known forums to famous speeches that made history, our "Best of the Web" collection features talks that come from all over the Web -- not just TED or TED's partner conferences -- so long as the video is available for free, and so long as the talk meets our most important benchmark: that it's an Idea Worth Spreading ("Best of the," 2011). It was here that I found a number of the sites most moving inspirational speeches. Including one from Holocaust-survivor Viktor E Frankl.

Why to Believe In Others

In this excerpt from a lecture in 1972, Viktor E Frankl (Neurologist and psychiatrist) illuminates the importance of investing in people. With the use of well-timed humor and minimalistic visual aids he displayed an array of information. Frankls’ approach to the speech was simply ingenious. Although he clearly knew information well, he allowed the audience to assist at points (clearly a technique heavily employed by instructors). I have personally have always agreed with notion of over expectation for myself, however I now see the benefit in doing the same for others as well.

Reference:

Best of the web. (2011, November 08). Retrieved from http://www.ted.com/themes/best_of_the_web.html

Ries, A., & Ries, L. (2002). The 22 immutable laws of branding. New York, NY: HarperCollinsPublishers.

Frankl, V. (Performer). (1972). Viktor frankl: Why to believe in others. [Web Video]. Retrieved from http://www.ted.com/talks/viktor_frankl_youth_in_search_of_meaning.html

Industry Association

Welcome back,

In this segment we will briefly discuss a variety of a Industry associations. Highlighting their purpose and motivation as it pertains to elements of the music business. However, one should keep in mind "...there are over 86,000 registered trade and professional associations whose primary purpose is to work together on a common interest" (DeGilio, 2011). So it highly unlikely that we can cover each and every pertinent one. Non-the-less, we have listed (and outlined) four key organizations imperative to those looking to succeed in this field.

Recording Industry Association of America: http://www.riaa.com/

Is a trade organization that promotes the creative and financial livelihood of the major music companies. "RIAA® members create, manufacture and/or distribute approximately 85% of all legitimate recorded music produced and sold in the United States" (www.RIAA.com).

American Advertising Federation: http://www.aaf.org/

This federation ulitmately protects and promotes the well-being of advertising. Some of their key attributes (as detailed on their website) include...

* Bringing members together to yield creative business solutions.
* Educating members on the latest trends in technology, creativity and marketing.
* Promotes diversity in advertising by encouraging the recruitment of people of
diverse cultures.

For further insight into the companies benifits refer to their web page. (www.aaf.org)

Motion Picture of Association of America: http://www.mpaa.org/

According to its website it is at the forefront of assisting the film industry through one of its most
turbulant periods to date. "While the advent of the digital era created extraordinary new opportunities for delivering movies to consumers, it also give rise to the most serious threat to the industry's continued health - online copyright theft"(www.mpaa.org).

Public Relations Society of America: http://www.prsa.org/

"...is a community of more than 21,000 public relations and communications professionals across the United States, from recent college graduates to the leaders of the world’s largest multinational firms. Our members represent nearly every practice area and professional and academic setting within the public relations field" (www.prsa.org).

Inevitably each of these organizations will have an affect on the way www.MusicCasting.com operates, from handling promotions to aiding talent. The association that may be dealt with the most is the RIAA. With the core focus of the company being ~music~ it will be imparative that the site work closely with the RIAA for the benefit of those employing the service.

Unfortunately, membership is only "open to legitimate record companies with main offices in the United States that are engaged in the production and sale, under their own brand label, of recordings of performances for home use" (www.riaa.com). However, many of our promotions are geared toward music and the distribution of it.

Many of the initiatives the company champions also align with the ideology of www.MusicCasting.com. Their attempts to combat piracy continue to allow legal online services to profit. They are also huge advocates of taking legal action against rogue companies. A more recent tool employed the company with the use of the FBI seal... This was intially brought to our attention via the "JMiller Entertainment Blog" (available here...http://jasminedmiller.blogspot.com/2011/11/recording-industry-association-of.html) However, for more information on this and other music related legal issues visit (www.riaa.com)

Distributing Music Online

Distributing Music Online

Justin McWilson

10-13-09

With the variety of advancements in technology it has never been easier to get ones music out. In the old days the technology it took to record, cut and distribute an album (EP, single etc.) was far too expensive for the average individual to delve into. However, that is no longer the case…

In our two previous discussions we covered the initial steps to getting ones music to the market place. With our initial blog, Securing Ones Publishing we talked about the purpose of publishing companies, how to choose one and where to find them. Then in the following post, What is Copyrightable & How Do I Do It the tedious but very necessary process of copywriting music (& or lyrics) was highlighted in a step-by-step process.

Now that you have copyrighted your material and own your publishing rights, you are officially ready to get paid for your music. Luckily many companies have already done much footwork for you, releasing you of the burden. Understandably, there is a multitude of ways out there for one to get paid off the sales of his material. Here we will cover some of the most popular machines currently out there.

Note: According to http://www.garagespin.com it is highly recommended that you do the following first for best results:

· Have your Music Mastered.

· Obtain a UPC Code.

· Choose a pricing model.

· Choose a service that meets your needs.

One of the most popular engines now available on the Internet is CD Baby. Through the use of this site an artist may upload a body of work, to be sold as individual pieces or an entire entity. The start up fee for the service is $35 and 9% of your royalties. While the start up fee and loss of wages do to royalty docks may serve as a deterrent the benefits include digital distribution to a wealth of sites such as iTunes, Rhapsody, eMusic, Amazon MP3, Napster, Verizon V-Cast, Liquid Digital Media, PayPlay, AudioLunchbox, GroupieTunes, Ruckus. For more information on CD Baby, click here.

Reverb nation is a similar online service that provides an artist with the necessary tools to profit. While the start up fee is $34.99, which is very close to the price of the CD Baby service, this company does not take any percentage or royalties. They also are much smaller in their digital distribution development, with only five companies they currently distribute through: iTunes, Amazon, eMusic, Napster, Rhapsody. For more information on Reverb Nation, click here.

Reference:

7-ways-sell-your-music-on-itunes. (2009, March 09). Retrieved from http://www.garagespin.com/2009/03/09/7-ways-sell-your-music-on-itunes/

What is Copyrightable & How Do I Do It

What is Copyrightable
& How Do I Do It

09-29-11

Back Story:

After years of producing music locally Project Pleasure Productions has ventured out, to turn concepts into to cash. In our opening series of blogs we have dedicated ourselves to detailing the process of getting ones music out.

In our last post "Securing Ones publishing" (located here) we discussed the process of choosing a publishing company. This time around we will explore the topic of “Copyrights”.

When discussing issues regarding business, often times those that have never personally researched the topic are the first to offer up advice. However, like most other things in life you would prefer to get guidance from a professional. (One that has slightly more experience on the topic than you). Here we will discuss a couple commonly discussed methods of copyrighting.

Prior to seeking copyright protection one should realize what exactly is covered. According to www.copyright.gov and “Copyright Basics”, copyrights are meant to protect:

… a form of intellectual property law, protects original works of authorship including literary, dramatic, musical, and artistic works, such as poetry, novels, movies, songs, computer software, and architecture. See Circular 1, Copyright Basics, section "What Works Are Protected."

This in no way covers websites, domains, band names or ideas (unless written). However, in some cases it may cover the way in which an idea is expressed.

Once you have established that first, you have something and it is eligible for copyrighting, you must secondly determine what route you would like to go about. In theory, there are many ways to do this however here we will highlight two commonly discussed Poor mans copyright and Government copyright.

The poor mans copyright, often talked about as an alternative to the official copyright has been a method used by many for years. However after exploring the www.copyright.gov site one realizes this is far from a suitable alternative.

The practice of sending a copy of your own work to yourself is sometimes called a “poor man’s copyright.” There is no provision in the copyright law regarding any such type of protection, and it is not a substitute for registration (Copyright in general, 2010).

How to obtain an official copyright for your music, refer to this site: http://www.calliopebb.wordpress.com/2011/02/06/copyright-yo-shit-the-step-by-step-guide/. This is perhaps one of the only methods honored by the US justice system. Non the less it is a time intensive process, well worth the investment.

Stay tuned for next time when we discuss how to distribute music!

Reference:

What does copyright protect . (2010, september 13). Retrieved from http://www.copyright.gov/help/faq/faq-protect.html

Copyright in general. (2006, July 12). Retrieved from http://www.copyright.gov/help/faq/faq-general.html

Securing Ones Publishing

Securing Ones Publishing

Justin McWilson

Sept. 8, 2011

This week in The Underground Report: We begin the three-step process to getting ones music out in the market place (digitally). This includes obtaining publishing, acquiring copyrights and distributing content.

The process of choosing a publishing rights organization is very similar to buying a home or securing a car loan. While it isn’t the most complicated process in world, those that don’t do the proper research often regret the outcome. With only three major performance rights organizations out there (ASCAP, BMI and SESAC), the delicate procedure of choosing one can become truly cumbersome. Each provides similar services however, a separate list of added incentives.

ASCAP (American Society of Composers, Authors and Publishers) has been and continues to remain the home for many of America’s most successful artist. This list includes such greats as Duke Ellington and Stevie Wonder to Leonard Bernstein and Beyoncé. According to the companies website they state that their sole aim is to

…Protect the rights of its members by licensing and distributing royalties for the non-dramatic public performances of their copyrighted works. ASCAP’s licensees encompass all who want to perform copyrighted music publicly. ASCAP makes giving and obtaining permission to perform music simple for both creators and users of music (http://www.ascap.com/about/ )

As an added incentive, those that choose to join the org. receive a variety incentives including:

…workshops, showcases, our website and publications, and an exclusive, tailor-made benefits package that includes health and instrument insurance, a credit union, discounts on musical accessories, travel and much more. ASCAP is committed to nurturing music makers throughout their careers (http://www.ascap.com/about/ ).

BMI (Broadcast Music Inc.) working in similar fashion states their mission as follows:

…collects license fees on behalf of songwriters, composers and music publishers and distributes them as royalties to those members whose works have been performed (http://www.bmi.com/about/ ).

The company that was established in 1939, as an alternative PRO (performing right organization) also boasts star-studded line up of musicians it represents. Including Kanye West, Michael Jackson, Elton John and an array of there’s. Aside from an impressive roster the company also provides users with a variety of vital tools.

This means instantaneous information on catalog, royalties and contract status. Computerization has facilitated the collection of performance data, distribution of royalty payments, management of licensing fees and automation of accounting functions. No other licensing organization can boast of such an extensive and accessible body of information (http://www.bmi.com/about/entry/533108).

SESAC (Society of European Stage Authors & Composers) originally founded in 1930 (New York) by German immigrant Paul Heinecke. The goal, of the company at that time was to help European publishers with their American performance royalties.

With an established cornerstone repertory of the finest European Classical Music, SESAC began to turn its attention to American music in the 1930s (http://www.sesac.com/About/History.aspx).

A few of the writers connected to the label include Aesop, Rock Adonis and Brian Cox. Artists aside the company also provides:

…a highly independent, innovative, profitable and market-driven performing rights organization, sensitive to the concerns and interests of its affiliates, users, employees and shareholders (http://www.sesac.com/About/Careers.aspx).

Once one has chosen the company they would like to represent them, the next is simply filling out an application fee and providing evidence of their creations.

Next topic: Acquiring copyrights.