Friday, May 22, 2009

GIG RULES FOR BANDS

4 Gig Booking Rules All Bands Should Follow
Don't put on a lame show. Here are four tips for booking gigs that are entertaining, fun and definitely not lame.
http://www.associatedcontent.com/article/1334413/4_gig_booking_rules_all_bands_should.html
_____________________________


1. Don't pay to play. Some venues insist on a fee, or they'll make you buy tickets and sell them in order to play. These are a rip off. Venues should pay your band to play. Pay-to-play shows are without exception always overpriced, they tend to attract a lower-quality roster of bands (because bands that have been around for a while know not to pay to play, it's kind of a vicious cycle), and they're almost always severely overbooked. Reputable venues won't charge you to play.


2.Know thy PA. If there's a sound guy at the show, that's fantastic. But for many shows, bands have to run their own sound. Bands that have their own PAs should know how to use them, and there should be very little time spent on stage trying to get levels and effects right. Make sure all microphones are muted before turning the PA on, too--nobody likes a loud screech in their ear, other than Barbara Streisand fans.


3. No more than three bands to a show. Any more than this and you're going to be pissing off somebody's fans, who came to see their favorite local band and ended up waiting through a minimum of an hour and a half of music. No matter how good that other music is, they'll feel a little bit annoyed that there are so many bands, and chances are the bands won't react really well to 4 or 5 band bookings, either. Shows work the best when everything moves quickly, and that's just not possible with more than three bands (the obvious exception being music festivals and fairs.


4. Book shows at venues where you'll be well received. If you're not going to go over well at a biker bar, don't book shows at biker bars, and if you don't know anything about the bar you just booked a show at, you should do some research and see if it's going to be worth your time.
Likewise, play with bands that have similar influences; try to make sure that the people showing up to each show have a reasonable idea of what to expect.

Thursday, April 9, 2009

Pirates? Really?



[Image: http://www.rnw.nl/images/assets/15888381]

VERSUS


[Image: http://www.usmilitarystuff.com/images/us%20navy.jpg]

washingtonpost.com - http://www.washingtonpost.com/wp-dyn/content/article/2009/04/08/AR2009040800940.html

Saturday, January 24, 2009

ONE QUESTION ....

Where Will All The Terrorist Physically GO?

Thursday, December 25, 2008

Thursday, September 4, 2008

YES DAMN IT! WE FRIGGIN'
LOVENASCAR OVER HERE.

NASCAR is certainly an acquired taste. And we’ve certainly acquired it over here.

The Chevy Rock & Roll 400 [September 6th] is considered the last race of the regular season. The next ten races after that are colloquially known as the CHASE.


This Race for the Chase is one of the best parts of NASCAR. But since nobody EVER seems to know what the heck we’re talking about when we start talking racing, we thought it best to provide a little explanation.

You know, like a public service.

You are so welcome.



[Q] WHAT ARE THEY CHASING EXACTLY?

[A] A damn trophy. Financial benefits aside [and there are MANY in NASCAR], isn’t ‘the trophy’ the thing all athletes are after?

In case you’re wondering, the trophy has a name. It’s called the SPRINT CUP.



[Q] IS THERE A CELL PHONE IN THE CUP?

[A] Uh…we doubt it. The history of the aforementioned cup goes a little something like this:

Back in the early days of NASCAR – when most of the tracks were dirt and drivers drove there in the same car they were soon to race in – the ‘Cup Series’ was known as the STRICKLY STOCK SERIES.

As more tracks were paved, and more races run, the series was renamed the GRAND NATIONAL SERIES.

From 1971 to 2003 – when cigarettes ruled the world – RJ Reynolds had the entire series on lock. Thus we had the era of the WINSTON CUP SERIES. Until…

2003 when Nextel took over sponsorship, and [obviously] renamed the whole thing the NEXTEL CUP SERIES [duh]. But Nextel’s notoriety was short-lived because…



In 2007 Nextel merged with Sprint and apparently lost the ‘name-change’ coin toss thereby reincarnating the series into the SPRINT CUP SERIES we all know and love today.



[Q] IS SERIES LIKE CEREAL?

[A] Not really. Though we do love our cereal as much as the next man.


[Q] So about the SERIES…?

[A] NASCAR affiliates itself with three clusters of races. These clusters are called SERIES.

SERIES #1 : THE NATIONWIDE SERIES



Evidenced by their somewhat low-brow names –such as the Kroger 200 and the Heluva Good 200- these 30+ races are considered [by some, not us] as the baby brother to the more fly and flashy SPRINT CUP SERIES.

Haters abound, even in NASCAR country, so the so-called ‘BUSCHWACKER’ controversy promotes the theory that the Nationwide Series is/should be strictly for the less well-known, newer, younger, or less experienced drivers. These naysayer’s claim that allowing the big name Sprint Cup drivers into the Nationwide Series takes focus and opportunity away from the regular Nationwide contenders. But big names bring exposure, experience, notoriety, and TELEVISION CAMERAS to the Nationwide races, se we suppose it’s a draw.


SERIES #2 : THE CRAFTSMAN TRUCK SERIES



These races use modified production pickup trucks instead of the traditional stock cars. Craftsman, who’s been sponsoring the series since its inception, recently announced that they would no longer be footing the bill after the 2008 season…I guess now is the point where we should start holding our breath.


SERIES #3 : THE SPRINT CUP SERIES


In this BIG DADDY of all NASCAR hubbub, NASCAR runs 40+ races for the entire cup series. The race prior to the last ten races [this year its the Chevy Rock & Roll 400 as I've managed to 'product place' into this article several times already] is designated as the cut off, after which, the drivers with the top twelve scores [called points] are considered contenders in the CHASE.

The last ten races are the actual CHASE. Whichever driver has the most points at the conclusion of the tenth race is officially declared the SPRINT CUP Champion. Hooray rite?!!



[Q] WHAT’S THE POINT WITH THE CHASE POINTS?

[A] Drivers accumulate points for various reasons during the regular season, the most notable reason being [of course] a win. NASCAR and its detractors have a long and often tumultuous relationship regarding their points systems. [In case you care, since 1949, the points system has been modified or outright changed no less than 12 times]. But the basic premise goes like this:

1. Once the 12 ‘CHASE DRIVERS’ are determined, everybody’s points are reset to 5000.

2. Added to the 5000 points, each driver gets 10 bonus points for each race won they [already] won in the regular season.

3. During the 10 race CHASE normal scoring rules apply – and the points for each of these races are added to the 5000 plus points of each driver.

4. Whichever driver has the most points at the end of the ten races…WINS!



[Q] SO WHO’S GOING TO THE DANCE?

[A] We won’t know officially until the last regular season race [Chevy Rock & Roll 400] is run on Saturday, September 6, 2008. But here’s what the numbers say so far:



Either way we should be covered here @ TBR.

Driver 1 is O.Liver’s boy – Kyle Busch.



And Driver 12- Clint Bowyer -is Sasha’s Fav.



See you at the Pole homies.

-Other NASCAR Blogs We Like-

JEREMY MAYFIELD

NASCAR FOR DUMMIES




Posted by Suri MacKool. Email our newest staffer at Suri@OfficialBloKRecords.com.

Monday, September 1, 2008

FreelanceWritingGigs.com Link

This is a cool site overall. And a good post for all...

FREELANCE WRITING GIGS [DOT] COM

Saturday, July 19, 2008

JULY | AUGUST
THE PROTEAN PUBLISHER or WHO YOU WIT?





Congratulations!

Finally you’re getting your music career on track. You’ve found a reputable studio (check), got into the grove of writing and rehearsing regularly (check), and you’ve even begun to grasp that whole ‘copyrights’/’royalties’/’what’s mine might not really be mine’ thing (partial check).

But whether you’ve aligned yourself with a top-notch publishing house, or are publishing yourself via a book and a prayer; there are five (5) essential functions that all music publishers’ (even the self-published) must have.

If you’re working with a publisher (big or small, major or indie), then you owe it to your longevity to take a hard look and verify that these five functions are being handled – accurately, competently, and consistently.

And you self-publishers aren’t off the hook either! Don’t think that because you’re publishing yourself, or because you don’t have that much material, or because you are doing it for the ‘love’ and not for the ‘money’ (get real) that you don’t have to be super-multifunctional as well. You too must possess these five character traits (functions) –competently, accurately, and consistently- in order to move your music career from the ‘hobby’ stage to the ‘revenue-generating’ phase. And then that way, you can do it for the love, you can do it for the rush, and you can do it for the rent payments.



TASK: Get the Songs!

PURPOSE: Without songs (technically, without copyrights) – there’s nothing to publish, nothing to collect income from, nothing to sing in the shower. Someone has to be actively seeking new songs, new songwriters, and new copyrights. If you’re self-publishing, this means YOU’RE in charge of acquiring new and profitable songs from YOURSELF.

TRAITS: Vocal, verbal, well-spoken, aggressive, passionate, unfazed and able to take rejection; you MUST have the ability to make –and more importantly, close—a sale.



TASK: Move the Songs!

PURPOSE: You can write songs until the sun starts rising in the West. But songs can’t be heard and money can’t be made unless someone is actively marketing, promoting, and selling these songs and/or the artists who are singing the particular song.

TRAITS: Big personality, fast talker, trendy, multi-tasker, creative, global; you MUST be able to move yourself and move your product quickly.



TASK: Count the Songs!

PURPOSE: Actually, the administrative function is about much more than bean-counting. Even if you’re doing you’re own paperwork, administration means registering the copyrights; getting proper licensing (mechanical, performance, synch, special use, etc); administrating (babysitting) the copyrights; issuing licenses (to others); registering with performance rights organizations and MORE.

TRAITS: Organization! Organization! Organization! -almost to the point of being anal. This person must be able to work independently- without handholding – and must consistently present a good face to the public on behalf of the/your copyright/song/artist/songwriter.



TASK: Collect Money from the Songs!

PURPOSE: With all those licenses and copyrights rolling around, someone has to actually collect ‘all’ the income that’s (hopefully) generated.

TRAITS: This person must have a true grasp of the intricacies related to royalties, fees, percentages, distribution, and anything else that will keep the company (you) paid. If you’re fulfilling this function yourself- be diligent about collecting your due. Don’t be a bully (you will probably have to work with these people again), but DO NOT be a pushover either.



TASK: Protect the Songs!

PURPOSE: Since you (or your publisher) have a very vital interest in your songs (ownership), then you (both) need to be protecting them. EVERYTHING from sampling to thief to illegal downloads need be constantly monitored and – if applicable- responded to.

TRAITS: Diligence, persistence, intelligence; you must know all there is to know about copyrights, entertainment law, unauthorized exploitation, and unauthorized derivative works.

Monday, June 9, 2008

MAY | JUNE
HOW TO BECOME A DRUG DEALER




Sometimes celebrity has its perks. There's fly gear and fast times. Worldwide premiers and whirlwind travel. Crucial contacts and Krug Rose'. Fairly wild days and even wilder nights. There's the riches. And the power. And the spoils.

Around every corner – it seems – opportunity, occasion, and exposure constantly lie in wait. Yet with great power comes even greater responsibility. Which means sometimes celebrity can get complicated.

Complicated. Arcane. Perplexed. Just like real life.


As the world turns, nobody really aspires to be a drug dealer. Mostly its circumstance and choice that put us in the place where we stand. So its initially unnerving to hear that Alicia Keys – the multi-platinum, Grammy-award winning, pianist, singer, songwriter, and now actress – is not only an advocate for dealing drugs, but is something of a drug kingpin (I guess she'd be a 'queen' pin), herself.

Alicia Keys a candy girl?? Say it ain't so.

But there she is all over the internet insisting that her fans and peers push weight. She's even helping promote a website (www.becomeadrugdealer.com) that gives a virtual blueprint on the basics of drug distribution including 'cartels', 'trafficking,' and 'recruitment'.

Perhaps all those Smokin Aces have indeed finally gone to her head?

But this is Alicia Keys we're talking about. Hell's Kitchen's girl gone good. So of course it's not all that it seems. And upon closer inspection, you'll soon understand why.


AIDS is everywhere. EVERYWHERE.

Worldwide it kills almost 8,000 people every twenty-four hours. It is an as yet incurable virus that has no consideration for race, class, creed, color, gender, or sexual orientation. It cares not where you live, where you're from, or what you do. AIDS is more impactful than any civil or humanitarian rights legislation. AIDS is as equal opportunity as it gets. And most of the people who have it don't even know it.

AIDS – actually the Human Immunodeficiency Virus (HIV) that causes AIDS – can only be transmitted from human to human by:

(1) Sex – anal, vaginal, or oral
(2) Blood transfusion
(3) Sharing of contaminated needles
(4) Mother to infant, during pregnancy, childbirth and breastfeeding

And while information like this is all well and good for industrialized, Western countries like the United States (where an estimated 43,000 people were newly infected with the disease in 2006); in less wealthy countries like Africa, Asia, or some parts of the Caribbean these little factoids are about as irrelevant as Brittney Spears’ latest hairstyle.

For example, AIDS/HIV transmission from parent to child is substantially preventable. But it is much easier to, say, not feed your baby HIV-infected breast milk when there's a WIC office or a Wal-Mart near by. Let's get real; when your hood is a camp on the westside of the Kalahari, that whole 'getting proper nutrition' thing is nothing more than a mess of complicated hubbub. There are no 7-11's in most underdeveloped countries. There are no Planned Parenthood's passing out free prophylactics. Thus, over 90% of all HIV/AIDS infected people worldwide live in impoverished / developing countries. And Africa -- specifically sub-Saharan Africa – has it worst of all. That’s because approximately 63% of people living with AIDS worldwide are concentrated in sub-Saharan Africa (defined as countries on the southern edge of the Sahara Desert that are not considered a part of North Africa). Over two million of them are children. Further, there are nearly 12 million ‘AIDS Orphans’ (that is, children who’s parents have died due to AIDS) living there as well.

This cannot be what Darwin intended when he theorized on ‘survival of the fittest’. With regards to AIDS as a whole, and AIDS in Africa specifically, something unequivocally has got to give.

With a donation of about $30 a month, lifesaving antiretroviral medications are distributed to children in sub-Saharan Africa via the efforts of the Brooklyn-based organization Keep A Child Alive – of which Alicia has recently been named Ambassador (www.keepachildalive.org). Antiretrovirals – or ARVs -- are considered the main type of treatment for HIV and AIDS. And while they are not a cure for HIV or AIDS, they can delay the illness in people for many, many years. In sub-Saharan Africa, a measly 100,000 people – just 2 percent – receive ARV medications, even though ARVs have “transformed AIDS from a virtual death sentence to a … potentially manageable disease.” And even though antiretrovirals have “virtually eliminated” HIV transmissions between mother and child and have been credited with lowering the AIDS death rate by as much as 80%.

And here’s that ‘ah-ha’ moment.

This is why Alicia Keys wants you to become a drug dealer. Not to dignify illegal drugs, but to save the life of a child. She’s found her cross to bear and while it’s a formidable one to be sure, perhaps in this giving back we may all achieve the consummate satisfaction that only doing good works can bring.

And for a moment at least, life (our life, the child’s life, Alicia’s life) may become just a tad less complicated.

And that, absolutely, could be the best perk of all.

- - - - - - -


Other ways to make your life less complicated:

• Find out your status. Go to www.hivtest.org to find locations in your area that provide free testing.

• Make a one-time donation. To any AIDS related organization of your choosing.

• Download a copy of Alicia and Bono’s cover of Peter Gabriel’s and Kate Bush’s “Don’t Give Up”. All proceeds go to “Keep A Child Alive”. (www.itunes.com)

• Keep yourself informed. Any of the sites listed here are good places to start.

UNAIDS.ORG

AVERT.ORG

CDC.GOV

HIVTEST.ORG

KEEP A CHILD ALIVE. ORG

BECOME A DRUG DEALER. COM


As my grandma likes to say, ‘Holla @ ya girl’:
Sasha@OfficialBloKRecords.com

Saturday, March 1, 2008

MARCH | APRIL
TMI: CONTROLLED COMPOSITION CLAUSE

TMI: Controlled Composition Clause








white|paper

The CONTROLLED COMPOSITION CLAUSE IS STANDARD (DID YOU HEAR THAT! STANDARD!)...
in most record label contracts. Get a grip on it before it gets a grip on your pocket.

__________________________________


"In between his 'In My Lifetime' and 'Hard Knock Life' albums, JayZ learned what publishing really was about, because he didn't make a lot of money on his first albums. When we went to collect his royalties, they weren't there, because he had signed deals that he didn't really know a lot about ‚ hey, it happens every day. So I went and investigated why he hadn't been paid, and I showed him: this is what you're getting -- but if you had done it right, this is what you would have gotten. Let's say 'In My Lifetime' sold a million records. Jay would have made maybe $300,000 in publishing. With 'Hard Knock Life,' he's clocking close to $2 million in publishing royalties alone [circa June '99]. I helped him just by showing him the right way to do it, so I feel real good about that." (Big Jon Platt, EMI Music Publishing)

__________________________________


According to the American Society of Composers, Musicians, and Producers (ASCAP):

‘Many agreements -- the majority, in fact -- contain language which provides that if the recording artist or producer has written or co-written a song, has ownership or control of a song, or has any interest in any composition on the album or single, the mechanical royalty rate payable by the record company for that composition is reduced. (They offer no reason for this, except that it saves them money!) Such compositions are referred to as controlled compositions.’

If the label can sniff out ANY extra ‘interest’ you (or others related to the song) have with the work – they’ll attempt to attach a CONTROLLED-COMP-CLAUSE (CCC) to your contract.

Currently, the statutory mechanical royalty rate (that is, the rate you/your publisher would receive for granting the label a mechanical license for your song or album) is 9.1cents. But under various circumstances: you are a writer and performer, you have co-writers or co-producers on your track, the grass just so happens to be green that day, whatever – the label may ‘ask’ you to reduce that 9.1cents. By how much you ask? Well, the standard for most Controlled-Comp-Clauses’ is to pay you 75percent of the full statutory mechanical rate, thereby reducing your mechanical royalty by about 25pecent- so, under that agreement, if you’re lucky, you’d receive about 7cents.

Certainly, there are plenty of mouths to feed once a song or musician reaches the ‘big time’. So it’s not totally egregious that the terms ‘REDUCED RATE’ and ‘CONTROLLED COMPOSITION CLAUSE’ (will probably) be on the table more often than not. And in many cases – such as is the case with urban music (rap, hip-hop etc), having a producer, a producer-of-tracks, a co-writer, and even co-performers is fairly unavoidable, and therefore pretty much goes with the territory. Regardless, even if you record with the entire Boys Choir of Harlem --you still have to keep a steady eye on the bottom line (specifically YOUR bottom line) – if you ever want to, you know, EARN INCOME!

The MORAL of this story? It’s simple: Even if you are co-writing with Jesus himself, with Moses as your publisher, and Mohammed overseeing your record deal - always remain MINDFUL of your MONEY (And by ‘ALWAYS’, I actually mean…ALWAYS! PEOPLE!). And do not assume that just because the CCC exists that you MUST be subjected to it. Watch your back. Read your contracts. Then have your lawyer read them again. Many (many, many, many, many) new (and even established) artists and writers have ended up earning BUBCUS for all their hard work once all the deductions and clauses have been accounted for. Some have even ended up owing the label at the end of the day, which is such a ludicrous and disheartening of a concept that I can’t even be bothered to keep writing…I need some air… (…until next time, good people).

(TERMINOLOGY TO CONSIDER: maximum aggregate- mechanical- penny royalty)

revilo|group

www.officialblokrecords.com

Tuesday, January 1, 2008

JANUARY | FEBRUARY
PUBLISHING INCOME STREAMS



(We’re not even gonna go through a big introduction for this one.)

Once upon a time, a very savvy music publisher very succinctly broke down the four major (though not exclusive) ways a song (technically, a copyright) can make money. (Copyrights, btw, earn income through the collection of fees derived from the granting of licenses for specified uses).

You see, just as the Declaration of Independence prescribes to its holders (citizens) certain inalienable rights:

• Life
• Liberty (including civil liberties)
• Pursuit of Happiness

So too does the Library of Congress ‘grant’ its holders (copyright owners) certain alienable rights:

• Right to copy
• Right to use
• Right to perform
• Right to invent crafty and creative new ways to use

And while –on the surface- the RIGHT to, say, ‘LIFE’ seems exorbitantly simpler (and cheaper) than the intricacies of, say, the RIGHTS acknowledged by COPYRIGHT LAW– as your experience in this industry goes, you’ll see that obtaining and earning income from a copyright is vastly easier than you think.

And more importantly, it requires way less introspection than abstract and esoteric concepts like, uh, …’happiness’ ever could.



RAPPERS REMEMBER THIS...








Tuesday, August 14, 2007